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 Vietnam and from London.
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 1961 to 1974.
I'm losing my edge.
To all the kids in London and Manila.
I'm losing my edge to the art-school Glasgow 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the guitar sounds with much patience.
I was there when Donald Fagen 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 Minnie Riperton to the dance kids.
I played it at the Astoria.
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 Roy Ayers Ubiquity. All the underground hits.
All Kerri Chandler tracks. I heard you have a vinyl of every Crispy Ambulance 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 '80s cut and another box set from the '70s.
I hear you're buying a sitar and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Electric Prunes record.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moss Icon,
Ultravox,
Rowland S Howard / Lydia Lunch,
The West Coast Pop Art Experimental Band,
Nik Kershaw,
John Lydon,
Neu!,
Electric Light Orchestra,
KRS-One,
Tom Boy,
Agitation Free,
The Skatalites,
Chris Corsano,
Bluetip,
The Neon Judgement,
The Index,
Sexual Harrassment,
Camron Feat. Memphis Bleek And Beenie Seigel,
Royal Trux,
Sam Rivers,
Lucky Dragons,
Rod Modell,
Au Pairs,
T.S.O.L.,
Sound Behaviour,
Skriet,
Marcia Griffiths,
Soft Machine,
The Offenders,
F. McDonald,
Dennis Brown,
Piero Umiliani,
Porter Ricks,
It's A Beautiful Day,
Blossom Toes,
The Victims,
Beasts of Bourbon,
David Bowie,
Tears for Fears,
Sonic Youth,
Marvin Gaye,
Albert Ayler,
E-Dancer,
Desert Stars,
Tim Buckley,
Grandmaster Flash and the Furious Five,
Joensuu 1685,
Grandmaster Flash,
Con Funk Shun,
Notorious Big And Bone Thugs,
Michelle Simonal,
The Techniques,
Vainqueur,
Cymande,
The Alarm Clocks,
The Evens,
Stereo Dub,
Judy Mowatt,
Kenny Larkin,
Excepter,
Technova,
Art Ensemble Of Chicago,
Crooked Eye, Crooked Eye, Crooked Eye, Crooked Eye.
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.