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 Peru and from Seoul.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Stockholm and Mexico City.
I'm losing my edge to the art-school Portland 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 Lou Reed 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 Kurtis Blow to the jazz kids.
I played it at the Spitz.
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 Camron Feat. Jay Z And Juelz. All the underground hits.
All Soft Machine tracks. I heard you have a vinyl of every Susan Cadogan record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Mighty Diamonds record.
I hear that you and your band have sold your güiro and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
Oppenheimer Analysis,
Bobby Sherman,
Faraquet,
Sandy B,
Suicide,
Peter & Gordon,
Ultra Naté,
The Victims,
E-Dancer,
Lee Hazlewood,
Parry Music,
Dawn Penn,
Patti Smith,
Traffic Nightmare,
Funkadelic,
Joe Smooth,
Theoretical Girls,
Connie Case,
Dark Day,
Grandmaster Flash and the Furious Five,
June Days,
the Bar-Kays,
Chrome,
Quadrant,
10cc,
Peter Gordon & Love of Life Orchestra,
Little Man,
Dead Boys,
The Sound,
Franke,
Leonard Cohen,
Loose Ends,
Basic Channel,
DeepChord presents Echospace,
Terry Callier,
Slave,
Cheater Slicks,
The Detroit Cobras,
A Flock of Seagulls,
Sly & The Family Stone,
New York Dolls,
Severed Heads,
Kurtis Blow,
Aaron Thompson,
Visage,
Newcleus,
Camouflage,
The Selecter,
Marshall Jefferson,
Al Stewart,
Bobby Womack,
Joensuu 1685,
Panda Bear,
Electric Prunes,
Eve St. Jones,
Ultravox,
Steve Hackett,
Second Layer,
Ponytail,
Neil Young,
Fort Wilson Riot,
Pere Ubu, Pere Ubu, Pere Ubu, Pere Ubu.
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.