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 Costa Rica and from Columbus.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Lille and Sao Paulo.
I'm losing my edge to the art-school Tokyo 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 Wire practice in a loft in Watford.
I was working on the sitar sounds with much patience.
I was there when Robert Palmer 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 Sticky Fingaz feat. Raekwon to the dance 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 The Cowsills. All the underground hits.
All Avey Tare's Slasher Flicks tracks. I heard you have a vinyl of every Sex Pistols record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Sugar Minott record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stereo Dub,
Oneida,
Oblivians,
Wasted Youth,
Boogie Down Productions,
The Gun Club,
Brass Construction,
Frankie Knuckles,
The Real Kids,
The J.B.'s,
Justin Hinds & The Dominoes,
Shoche,
Los Fastidios,
Jawbox,
Circle Jerks,
Fugazi,
Dennis Brown,
Radiopuhelimet,
Reuben Wilson,
The Invisible,
Jimmy McGriff,
Sarah Menescal,
the Slits,
Delon & Dalcan,
Bobby Sherman,
Albert Ayler,
Derrick Morgan,
Cal Tjader,
Ultravox,
Notorious BIG live in Amsterdam,
The Gladiators,
Deadbeat,
Susan Cadogan,
Babytalk,
Ludus,
K-Klass,
The Sound,
Sam Rivers,
Roxy Music,
Heavy D & The Boyz,
The Selecter,
Subhumans,
Adolescents,
Robert Wyatt,
The Moleskins,
Girls At Our Best!,
Marmalade,
Man Eating Sloth,
Jeff Mills,
Kool G Rap & DJ Polo,
Angels of Light & Akron/Family,
H. Thieme,
Donny Hathaway,
Sällskapet,
Alice Coltrane,
Hasil Adkins,
Cluster,
Rahsaan Roland Kirk,
MDC,
Zero Boys,
Wings,
L. Decosne, L. Decosne, L. Decosne, L. Decosne.
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.