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 Czech Republic and from Paris.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Spokane and Calgary.
I'm losing my edge to the art-school Woodstock 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 808 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 Marcia Griffiths to the disco kids.
I played it at the Hacienda.
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 Massinfluence. All the underground hits.
All The Grass Roots tracks. I heard you have a vinyl of every The Star Department 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 '90s.
I hear you're buying a 808 and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Black Sheep record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Groovy Waters,
Pharaoh Sanders and the Fire Engines,
The Buckinghams,
Bill Near,
Young Marble Giants,
In Retrospect,
Easy Going,
The Litter,
Accadde A,
Glenn Branca,
Inner City,
the Bar-Kays,
Livin' Joy,
Boogie Down Productions,
Japan,
Suicide,
Black Sheep,
The Slits,
Ponytail,
Max Romeo,
Can,
James Chance & The Contortions,
The Sisters of Mercy,
Public Enemy,
Technova,
Al Stewart,
The Knickerbockers,
Manfred Mann's Earth Band,
Deakin,
Don Cherry,
Tomorrow,
Nik Kershaw,
Nils Olav,
Bobby Hutcherson,
The Last Poets,
Kaleidoscope,
Underground Resistance,
The Searchers,
Josef K,
Gregory Isaacs,
Kool Moe Dee,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Sixth Finger,
Pharoah Sanders,
The Seeds,
Andrew Hill,
Scott Walker + Sunn O))),
Harry Pussy,
Crime,
Con Funk Shun,
Index,
Smog,
Super Lover Cee & Casanova Rud,
Marshall Jefferson,
Joe Finger,
Funky Four + One,
Masters at Work,
The Modern Lovers,
Main Source,
Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks.
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.