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 Tajikistan and from Stockholm.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Johannesburg and Stockholm.
I'm losing my edge to the art-school Sao Paulo 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the clarinet sounds with much patience.
I was there when Robert Palmer 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 Kayak to the dance kids.
I played it at the Crocodile.
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 Idris Muhammad. All the underground hits.
All Charles Mingus tracks. I heard you have a vinyl of every Lower 48 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 '50s cut and another box set from the '70s.
I hear you're buying a rhodes and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Half Japanese record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nico,
Gary Puckett & The Union Gap,
10cc,
Larry & the Blue Notes,
The Seeds,
The Fugs,
Wasted Youth,
James White and The Blacks,
Donny Hathaway,
DJ Style,
Nation of Ulysses,
Stereo Dub,
The Modern Lovers,
Public Enemy,
Bill Wells,
Con Funk Shun,
Flipper,
Oneida,
Derrick Morgan,
Gichy Dan,
Cabaret Voltaire,
Kaleidoscope,
Moebius,
James Chance & The Contortions,
Wighnomy Brothers & Robag Wruhme,
Major Organ And The Adding Machine,
Audionom,
The Invisible,
Absolute Body Control,
Junior Murvin,
It's A Beautiful Day,
Lalo Schifrin,
Ralphi Rosario,
The Slackers,
Mission of Burma,
Byron Stingily,
Spoonie Gee,
Icehouse,
Sexual Harrassment,
Kool Moe Dee,
Radiohead,
Parry Music,
Barclay James Harvest,
Dawn Penn,
Soul Sonic Force,
The Toasters,
Ohio Players,
This Heat,
Rufus Thomas,
Marshall Jefferson,
World's Most,
The Five Americans,
Loose Ends,
Mary Jane Girls,
Bobby Womack,
Bootsy Collins,
Gang Starr,
MC5,
Rapeman,
The Jesus and Mary Chain,
Sex Pistols,
Graham Central Station, Graham Central Station, Graham Central Station, Graham Central Station.
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.