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 Zambia and from Mexico City.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Johannesburg and Sao Paulo.
I'm losing my edge to the art-school Jakarta 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the 808 sounds with much patience.
I was there when Donald Fagen 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 London Community Gospel Choir to the jazz kids.
I played it at the Roxy.
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 Roxy Music. All the underground hits.
All Los Fastidios tracks. I heard you have a vinyl of every Public Enemy record on German import.
I heard that you have a white label of every seminal funk 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 sitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Ponytail record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gang Green,
Warren Ellis,
Ultramagnetic MC's,
Louis and Bebe Barron,
Slick Rick,
Barry Ungar,
The Toasters,
Harpers Bizarre,
Maurizio,
The Stooges,
Slave,
Mandrill,
Cabaret Voltaire,
Groovy Waters,
Boz Scaggs,
Sun Ra Arkestra,
The Barracudas,
The Real Kids,
Byron Stingily,
the Soft Cell,
Gerry Rafferty,
Dark Day,
X-101,
Red Lorry Yellow Lorry,
Danielle Patucci,
The Smoke,
Pylon,
The Techniques,
Dead Boys,
Mo-Dettes,
Girls At Our Best!,
Marc Romboy vs. Booka Shade,
Lebanon Hanover,
Sparks,
Skarface,
The Black Dice,
Pete Rock & C.L. Smooth,
Rosa Yemen,
Ice-T,
Bronski Beat,
Sound Behaviour,
Buzzcocks,
Camron Feat. Memphis Bleek And Beenie Seigel,
Larry & the Blue Notes,
Black Bananas,
Ohio Players,
Bang On A Can,
Blancmange,
Ajijia Myrayebe,
Drive Like Jehu,
Saccharine Trust,
Wings,
Avey Tare & Kría Brekkan,
Orchestral Manoeuvres in the Dark,
The Standells,
MDC,
Crispian St. Peters,
Loose Ends,
Japan,
Black Pus,
Sällskapet,
Ash Ra Tempel,
The Doobie Brothers,
Tim Buckley, Tim Buckley, Tim Buckley, Tim Buckley.
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.