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 New Zealand and from Tehran.
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 1976.
I'm losing my edge.
To all the kids in Paris and Manchester.
I'm losing my edge to the art-school Tehran 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 Soft Boys practice in a loft in Cambridge.
I was working on the theremin 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 Bang On A Can to the disco kids.
I played it at the Crocodile.
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 Marcia Griffiths. All the underground hits.
All Khruangbin tracks. I heard you have a vinyl of every Amon Düül record on German import.
I heard that you have a white label of every seminal funk 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 clarinet and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Traffic Nightmare record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Notorious BIG live in Amsterdam,
Amon Düül II,
The Fire Engines,
In Retrospect,
Dead Boys,
D'Angelo,
Metal Thangz,
Beasts of Bourbon,
Sun Ra,
This Heat,
Joensuu 1685,
Adolescents,
Hashim,
Faraquet,
Red Lorry Yellow Lorry,
Flipper,
Kerri Chandler,
The Doobie Brothers,
David Bowie,
Royal Trux,
Junior Murvin,
The Skatalites,
The Divine Comedy,
Sex Pistols,
Dennis Brown,
Gil Scott Heron,
Urselle,
X-102,
The Detroit Cobras,
Quadrant,
Depeche Mode,
Circle Jerks,
Funky Four + One,
Josef K,
The Birthday Party,
The Litter,
Cybotron,
Animal Collective,
Deutsch Amerikanische Freundschaft,
LL Cool J,
Be Bop Deluxe,
Piero Umiliani,
The West Coast Pop Art Experimental Band,
Lightning Bolt,
Delon & Dalcan,
Ohio Players,
La Düsseldorf,
Porter Ricks,
Peter & Gordon,
Aaron Thompson,
Ludus,
Godley & Creme,
Bobby Womack,
Terrestrial Tones,
Joe Finger,
Rapeman,
Judy Mowatt,
The Offenders,
The Barracudas,
Jacques Brel,
The Standells,
Bauhaus,
Scratch Acid, Scratch Acid, Scratch Acid, Scratch Acid.
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.