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 Ivory Coast and from Lagos.
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 1973.
I'm losing my edge.
To all the kids in Portland and Toronto.
I'm losing my edge to the art-school Copenhagen 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the 808 sounds with much patience.
I was there when Captain Beefheart 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 the Bar-Kays to the punk kids.
I played it at the Crocodile.
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 Kurtis Blow. All the underground hits.
All Chrome tracks. I heard you have a vinyl of every Soul II Soul 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 '80s cut and another box set from the '80s.
I hear you're buying an organ and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Unrelated Segments record.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
U.S. Maple,
Prince Buster,
Johnny Osbourne,
Kauko Röyhkä ja Narttu,
LL Cool J,
Heavy D & The Boyz,
The Slackers,
Erykah Badu,
Jesper Dahlbäck,
Sight & Sound,
Chrome,
Bronski Beat,
Desert Stars,
The Chocolate Watch Band,
DJ Style,
James White and The Blacks,
Urselle,
Joensuu 1685,
Fluxion,
Rahsaan Roland Kirk,
Motorama,
The Tremeloes,
Robert Hood,
Dave Gahan,
Maleditus Sound,
Eli Mardock,
L. Decosne,
Pierre Henry,
Fela Kuti,
Magma,
Kas Product,
Cameo,
Sunsets and Hearts,
Be Bop Deluxe,
Little Man,
Siglo XX,
The Trojans,
Traffic Nightmare,
the Bar-Kays,
Country Joe & The Fish,
Make Up,
Thee Headcoats,
Model 500,
Monks,
The Saints,
Livin' Joy,
Animal Collective,
Zero Boys,
Andrew Hill,
Audionom,
Moby Grape,
The Five Americans,
Faraquet,
Section 25,
The Young Rascals,
Bobby Byrd,
The West Coast Pop Art Experimental Band,
Gerry Rafferty,
Pantytec,
Yazoo,
Ralphi Rosario,
Babytalk,
K-Klass, K-Klass, K-Klass, K-Klass.
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.