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 Ghana and from Woodstock.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Delhi and Mexico City.
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 1976 at the first Chic practice in a loft in New York.
I was working on the spring reverb 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 Reagan Youth to the dance kids.
I played it at Cafe Wha.
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 Cluster. All the underground hits.
All Agitation Free tracks. I heard you have a vinyl of every Das Ding record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a sitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Subhumans record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cameo,
a-ha,
Amazonics,
Gastr Del Sol,
the Swans,
Deakin,
Electric Light Orchestra,
The Black Dice,
Electric Prunes,
John Coltrane,
Marmalade,
The Moody Blues,
The Standells,
Brass Construction,
The Slits,
The Residents,
June of 44,
Stockholm Monsters,
Ten City,
Young Marble Giants,
48th St. Collective,
Yaz,
The West Coast Pop Art Experimental Band,
AZ,
Qualms,
Pharaoh Sanders and the Fire Engines,
Magazine,
Pulsallama,
Wolf Eyes,
Subhumans,
Public Image Ltd.,
Slick Rick,
PIL,
Robert Görl,
Joyce Sims,
Kenny Larkin,
The Victims,
The Offenders,
Excepter,
Spandau Ballet,
Black Sheep,
Half Japanese,
Ralphi Rosario,
Procol Harum,
Rapeman,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Rites of Spring,
Kango’s Stein Massive,
Wasted Youth,
Man Parrish,
Suburban Knight,
Curtis Mayfield,
Tres Demented,
Aural Exciters,
D'Angelo,
The Mojo Men,
Black Bananas,
Manfred Mann's Earth Band,
The Slackers,
John Foxx,
Kool G Rap & DJ Polo, Kool G Rap & DJ Polo, Kool G Rap & DJ Polo, Kool G Rap & DJ Polo.
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.