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 Denmark and from Houston.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Woodstock and Manchester.
I'm losing my edge to the art-school Columbus 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 1973 at the first Television practice in a loft in New York.
I was working on the oboe sounds with much patience.
I was there when Michael McDonald 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 Notorious Big And Bone Thugs to the grime kids.
I played it at the Hacienda.
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 The Slits. All the underground hits.
All Joe Smooth tracks. I heard you have a vinyl of every Davy DMX record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a linndrum and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Letta Mbulu record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Big Daddy Kane,
Whodini,
Sonny Sharrock,
Pulsallama,
Ultramagnetic MC's,
Absolute Body Control,
Todd Terry,
Sly & The Family Stone,
Joey Negro,
Khruangbin,
The Young Rascals,
Vainqueur,
Matthew Bourne,
Glenn Branca,
Maleditus Sound,
Make Up,
Bush Tetras,
Ornette Coleman,
Gil Scott-Heron & Brian Jackson,
Bang on a Can All-Stars,
Lou Reed & John Cale,
Connie Case,
Public Enemy,
Babytalk,
Electric Prunes,
Duran Duran,
Crash Course in Science,
Rites of Spring,
Drexciya,
Roy Ayers,
Radiopuhelimet,
Don Cherry,
Jesper Dahlback,
Dead Boys,
Dave Gahan,
Public Image Ltd.,
Soulsonic Force,
Dorothy Ashby,
Barrington Levy,
Cybotron,
Ken Boothe,
The Leaves,
Justin Hinds & The Dominoes,
a-ha,
Lou Reed & Metallica,
The Fire Engines,
Aswad,
John Lydon,
Judy Mowatt,
Faust,
Aaron Thompson,
The Barracudas,
Stetsasonic,
Loose Ends,
Ice-T,
Buzzcocks,
New York Dolls,
Lonnie Liston Smith,
The Selecter,
Rhythm & Sound,
Bill Near,
The Moleskins,
Scrapy, Scrapy, Scrapy, Scrapy.
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.