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 Mauritius and from Jakarta.
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 1972.
I'm losing my edge.
To all the kids in Tokyo and Tokyo.
I'm losing my edge to the art-school Johannesburg 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the chamberlin 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 Eden Ahbez to the crunk kids.
I played it at CBGB's.
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 Sight & Sound. All the underground hits.
All Electric Light Orchestra tracks. I heard you have a vinyl of every The Velvet Underground 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 a spring reverb and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Kings Of Tomorrow record.
I hear that you and your band have sold your rhodes and bought a snare.
I hear that you and your band have sold your snare and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hashim,
Jesper Dahlbäck,
Orchestral Manoeuvres in the Dark,
Jacques Brel,
Tubeway Army,
Sister Nancy,
Pulsallama,
Aswad,
Traffic Nightmare,
Joensuu 1685,
Crime,
Lou Reed & John Cale,
Japan,
The Blues Magoos,
Isaac Hayes,
Negative Approach,
The Techniques,
Blake Baxter,
The Peanut Butter Conspiracy,
EPMD,
Manfred Mann's Earth Band,
Bang on a Can All-Stars,
The Modern Lovers,
Bush Tetras,
Thompson Twins,
Motorama,
Delon & Dalcan,
The Barracudas,
The Happenings,
Grauzone,
Patti Smith,
Super Lover Cee & Casanova Rud,
Wings,
the Association,
Sam Rivers,
Los Fastidios,
Archie Shepp,
Mary Jane Girls,
Swell Maps,
Yusef Lateef,
Slave,
Susan Cadogan,
Dark Day,
48th St. Collective,
Black Flag,
Tears for Fears,
Laurel Aitken,
The Slackers,
The Buckinghams,
Bobby Sherman,
Echo & the Bunnymen,
Faraquet,
The Chocolate Watch Band,
Drexciya,
X-Ray Spex,
Warsaw,
Kenny Larkin,
Funky Four + One,
Joe Smooth,
New Age Steppers,
The Fuzztones, The Fuzztones, The Fuzztones, The Fuzztones.
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.