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 Georgia and from Portland.
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 1974.
I'm losing my edge.
To all the kids in Manila and Columbus.
I'm losing my edge to the art-school Shanghai 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 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 Bizarre Inc. to the electroclash 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 Harry Pussy. All the underground hits.
All New Order tracks. I heard you have a vinyl of every Stetsasonic 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 '60s cut and another box set from the '90s.
I hear you're buying an oboe and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Gerry Rafferty record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Interpol,
Trumans Water,
Flash Fearless,
Pierre Henry,
Gil Scott-Heron and Jamie xx,
Yaz,
Fatback Band,
Frankie Knuckles,
Lizzy Mercier Descloux,
Spandau Ballet,
Kerrie Biddell,
Pulsallama,
Monks,
Pole,
The Searchers,
T.S.O.L.,
Bobby Womack,
Joe Finger,
Eli Mardock,
Gian Franco Pienzio,
The Mighty Diamonds,
Swans,
The Mojo Men,
Rites of Spring,
MC5,
Unwound,
Bang On A Can,
Joy Division,
Vaughan Mason & Crew,
Boredoms,
Juan Atkins,
Los Fastidios,
Kool G Rap & DJ Polo,
Black Bananas,
World's Most,
Letta Mbulu,
Kenny Larkin,
The Offenders,
The Neon Judgement,
The Cowsills,
Eden Ahbez,
The Cure,
Josef K,
Barclay James Harvest,
Amon Düül,
The Seeds,
Nick Fraelich,
Fat Boys,
Jesper Dahlback,
Gil Scott Heron,
the Association,
Louis and Bebe Barron,
MDC,
Kevin Saunderson,
Avey Tare's Slasher Flicks,
Tommy Roe,
Wire,
The Cramps,
Davy DMX,
Vladislav Delay,
Neil Young,
Thompson Twins,
The Martian,
The Gladiators, The Gladiators, The Gladiators, The Gladiators.
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.