Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Slovakia and from Salvador.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1960 to 1971.
I'm losing my edge.
To all the kids in Taipei and Mexico City.
I'm losing my edge to the art-school Edmonton kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the mellotron sounds with much patience.
I was there when Nile Rodgers started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Grandmaster Flash and the Furious Five to the grime kids.
I played it at the Roxy.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Kings Of Tomorrow. All the underground hits.
All Scratch Acid tracks. I heard you have a vinyl of every Charles Mingus record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Louis and Bebe Barron record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Louis and Bebe Barron,
Mo-Dettes,
Laurel Aitken,
Shuggie Otis,
DNA,
Bluetip,
Monolake,
Pete Rock & C.L. Smooth,
Byron Stingily,
Neil Young,
Electric Prunes,
Nas,
Lindisfarne,
Bill Wells,
The Mojo Men,
Ultimate Spinach,
Throbbing Gristle,
the Swans,
Soft Cell,
The Associates,
Grey Daturas,
The Fire Engines,
The Neon Judgement,
Talk Talk,
The Smiths,
Sam Rivers,
John Cale,
Q and Not U,
Connie Case,
Fatback Band,
Tropical Tobacco,
Sexual Harrassment,
Excepter,
the Bar-Kays,
Pere Ubu,
Electric Light Orchestra,
the Germs,
Bronski Beat,
Smog,
Delta 5,
Rufus Thomas,
Harry Pussy,
Qualms,
Tomorrow,
EPMD,
Skriet,
Donny Hathaway,
Sun City Girls,
The Moleskins,
Severed Heads,
Desert Stars,
The Residents,
Gastr Del Sol,
Camberwell Now,
Janne Schatter,
Notorious Big And Bone Thugs,
Siouxsie and the Banshees,
Procol Harum,
Aloha Tigers,
Ituana, Ituana, Ituana, Ituana.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.