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 Trinidad & Tobago and from Houston.
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 1973.
I'm losing my edge.
To all the kids in Madrid and Lille.
I'm losing my edge to the art-school Lyon 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the marimba sounds with much patience.
I was there when Captain Beefheart 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 Lebanon Hanover to the grime kids.
I played it at Trash.
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 The Kinks. All the underground hits.
All EPMD tracks. I heard you have a vinyl of every Rod Modell record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an oboe and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Peter & Gordon record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marine Girls,
Agent Orange,
Make Up,
UT,
Rhythm & Sound,
Animal Collective,
Severed Heads,
Bill Wells,
Dave Gahan,
Donald Byrd,
Brand Nubian,
Funky Four + One,
The Blues Magoos,
Clear Light,
Ponytail,
H. Thieme,
Derrick May,
Scientists,
Massinfluence,
Spoonie Gee,
Morten Harket,
Mantronix,
Andrew Ashong & Theo Parrish,
The Peanut Butter Conspiracy,
Quadrant,
Sonic Youth,
Dennis Brown,
Soft Cell,
The Real Kids,
Deadbeat,
Gregory Isaacs,
Blossom Toes,
James White and The Blacks,
Dead Boys,
Subhumans,
Susan Cadogan,
Charles Mingus,
Pierre Henry,
The Neon Judgement,
Sunsets and Hearts,
The Saints,
Avey Tare & Kría Brekkan,
Aural Exciters,
Television Personalities,
David Axelrod,
Oneida,
Letta Mbulu,
June of 44,
Ludus,
Beasts of Bourbon,
Royal Trux,
Matthew Bourne,
Ultramagnetic MC's,
Godley & Creme,
Warsaw,
Cecil Taylor,
Reagan Youth,
Das Ding,
The Alarm Clocks,
London Community Gospel Choir,
The Tremeloes, The Tremeloes, The Tremeloes, The Tremeloes.
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.