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 Gambia and from Paris.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Madrid and Bremen.
I'm losing my edge to the art-school Toronto 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the 808 sounds with much patience.
I was there when Tom Verlaine 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 Duran Duran to the crunk 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 Smoke. All the underground hits.
All Minor Threat tracks. I heard you have a vinyl of every Excepter record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Lebanon Hanover record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Last Poets,
Gil Scott Heron,
Cluster,
The Fall,
Gil Scott-Heron & Brian Jackson,
Flipper,
Soulsonic Force,
Soul II Soul,
Boz Scaggs,
The Invisible,
Sad Lovers and Giants,
Eden Ahbez,
Idris Muhammad,
Rosa Yemen,
Gichy Dan,
Drive Like Jehu,
Chris & Cosey,
Half Japanese,
Scratch Acid,
Index,
Camouflage,
June of 44,
Alton Ellis,
Dorothy Ashby,
Donny Hathaway,
Lucky Dragons,
X-Ray Spex,
Sam Rivers,
Joey Negro,
The Grass Roots,
Terry Callier,
Funky Four + One,
The Shadows of Knight,
Lower 48,
Symarip,
48th St. Collective,
Orchestral Manoeuvres in the Dark,
Andrew Hill,
Lou Reed & Metallica,
Nick Fraelich,
Cal Tjader,
John Coltrane,
The Doobie Brothers,
UT,
Lungfish,
The Fortunes,
Fugazi,
Sly & The Family Stone,
Warren Ellis,
Skarface,
Ornette Coleman,
Pharoah Sanders,
Mark Hollis,
Minor Threat,
David Bowie,
Arthur Verocai,
Minutemen,
Joe Finger,
Alphaville,
Graham Central Station,
Sexual Harrassment,
Japan,
Liliput, Liliput, Liliput, Liliput.
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.