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 Liberia and from Portland.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Accra and Taipei.
I'm losing my edge to the art-school Mexico City 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 1976 at the first Wire practice in a loft in Watford.
I was working on the güiro 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 Gil Scott Heron to the rock kids.
I played it at the Astoria.
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 F. McDonald. All the underground hits.
All Reuben Wilson tracks. I heard you have a vinyl of every Traffic Nightmare record on German import.
I heard that you have a white label of every seminal dance 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 an organ and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Lower 48 record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sticky Fingaz feat. Raekwon,
Chris Corsano,
Nas,
Dennis Brown,
Aswad,
Sparks,
Blossom Toes,
Scrapy,
Duran Duran,
Soul II Soul,
Mark Hollis,
Cal Tjader,
Heavy D & The Boyz,
Liaisons Dangereuses,
Scientists,
The Cowsills,
The American Breed,
Charles Mingus,
Zapp,
Subhumans,
Ossler,
Jandek,
Dorothy Ashby,
Organ,
The Golliwogs,
Andrew Hill,
David McCallum,
Sam Rivers,
Sunsets and Hearts,
June Days,
Aural Exciters,
The Invisible,
The Mummies,
The Index,
Gil Scott-Heron and Jamie xx,
Inner City,
UT,
Marshall Jefferson,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Peter and Kerry,
Minny Pops,
Outsiders,
Peter & Gordon,
June of 44,
FM Einheit,
the Slits,
Lou Reed,
Soft Machine,
Bush Tetras,
Eric Copeland,
The Sonics,
The Mighty Diamonds,
Morten Harket,
Qualms,
Wighnomy Brothers & Robag Wruhme,
Agitation Free,
Dave Gahan,
Pagans,
Minutemen,
Roxy Music,
Absolute Body Control,
The West Coast Pop Art Experimental Band,
Mars,
The Vogues, The Vogues, The Vogues, The Vogues.
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.