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 Uzbekistan and from Lyon.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Accra and Beijing.
I'm losing my edge to the art-school Cairo 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the clarinet 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 Kurtis Blow to the dance 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 Amazonics. All the underground hits.
All The Dave Clark Five tracks. I heard you have a vinyl of every Gang Gang Dance record on German import.
I heard that you have a white label of every seminal grunge 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 arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Beasts of Bourbon record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sandy B,
Rakim,
Andrew Hill,
The Associates,
Bad Manners,
Tom Boy,
Eden Ahbez,
The Jesus and Mary Chain,
Pagans,
Jerry Gold Smith,
Massinfluence,
Rahsaan Roland Kirk,
Selector Dub Narcotic,
Skarface,
Strawberry Alarm Clock,
Rhythm & Sound,
Sister Nancy,
The Cramps,
Gastr Del Sol,
Babytalk,
Ornette Coleman,
Black Bananas,
Ash Ra Tempel,
cv313,
Average White Band,
Sam Rivers,
Thompson Twins,
The Alarm Clocks,
The Star Department,
Delon & Dalcan,
Oblivians,
Adolescents,
Faust,
Roy Ayers Ubiquity,
Eddi Front,
Cameo,
Ludus,
Skaos,
Avey Tare,
The Grass Roots,
Dark Day,
Pet Shop Boys,
Shuggie Otis,
Oppenheimer Analysis,
The Monochrome Set,
Oneida,
The Standells,
Camron Feat. Jay Z And Juelz,
Public Enemy,
The Gun Club,
Monks,
Vainqueur,
Man Eating Sloth,
Half Japanese,
Youth Brigade,
Orchestral Manoeuvres in the Dark,
Gil Scott-Heron & Brian Jackson,
Young Marble Giants,
Jeff Mills,
The Stooges,
Pharaoh Sanders and the Fire Engines,
The Moleskins, The Moleskins, The Moleskins, The Moleskins.
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.