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 Panama and from Tokyo.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Lille and Glasgow.
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 1976 at the first Wire practice in a loft in Watford.
I was working on the rhodes sounds with much patience.
I was there when Tom Verlaine 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 Vainqueur to the rap 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 Connie Case. All the underground hits.
All New Age Steppers tracks. I heard you have a vinyl of every Barbara Tucker record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Sixth Finger record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Little Man,
Oneida,
Notorious Big And Bone Thugs,
Avey Tare & Kría Brekkan,
Saccharine Trust,
Brass Construction,
Dead Boys,
Albert Ayler,
Ludus,
Brick,
Curtis Mayfield,
David McCallum,
The Happenings,
Colin Newman,
Wally Richardson,
Bobbi Humphrey,
Delon & Dalcan,
Ice-T,
Bush Tetras,
Fort Wilson Riot,
Blossom Toes,
Freddie Wadling,
Stereo Dub,
Richard Hell and the Voidoids,
the Fania All-Stars,
Drive Like Jehu,
The Zeros,
Monks,
Absolute Body Control,
The Misunderstood,
Eric B and Rakim,
Hashim,
Eric Copeland,
Los Fastidios,
Lower 48,
Agitation Free,
The Skatalites,
Camron Feat. Memphis Bleek And Beenie Seigel,
T.S.O.L.,
Orchestral Manoeuvres in the Dark,
Ultra Naté,
Sun City Girls,
Scan 7,
Derrick May,
Massinfluence,
PIL,
The Searchers,
Minnie Riperton,
Josef K,
Soul II Soul,
Eli Mardock,
Television,
Unwound,
John Lydon,
48th St. Collective,
Youth Brigade,
Kings Of Tomorrow,
Khruangbin,
Fat Boys,
X-Ray Spex,
Q65, Q65, Q65, Q65.
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.