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 Korea South 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 1967 to 1978.
I'm losing my edge.
To all the kids in Delhi and Glasgow.
I'm losing my edge to the art-school Milan 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the chamberlin 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 Alison Limerick to the grime kids.
I played it at the Roxy.
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 Normal. All the underground hits.
All The Doors tracks. I heard you have a vinyl of every Flash Fearless record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Minor Threat record.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nation of Ulysses,
Buzzcocks,
Funkadelic,
The Mighty Diamonds,
La Düsseldorf,
New York Dolls,
Brass Construction,
Vaughan Mason & Crew,
Siouxsie and the Banshees,
John Holt,
The Fire Engines,
Barrington Levy,
The Seeds,
LL Cool J,
Lungfish,
Hot Snakes,
Marine Girls,
Funky Four + One,
Ultimate Spinach,
Terry Callier,
Lebanon Hanover,
Be Bop Deluxe,
JFA,
the Sonics,
Erasure,
Robert Görl,
Ohio Players,
Fugazi,
Skarface,
Deepchord,
Camron Feat. Memphis Bleek And Beenie Seigel,
Gil Scott-Heron & Brian Jackson,
Ajijia Myrayebe,
Television,
The Gun Club,
The Motions,
Japan,
The Dirtbombs,
Blancmange,
Public Enemy,
Black Sheep,
The Litter,
Shuggie Otis,
Sun Ra Arkestra,
Danielle Patucci,
Ossler,
Bad Manners,
Joensuu 1685,
Barclay James Harvest,
the Human League,
Rapeman,
Stiv Bators,
Agitation Free,
Pussy Galore,
London Community Gospel Choir,
The Toasters,
Stereo Dub,
Agent Orange,
Neil Young & Crazy Horse,
Bobbi Humphrey, Bobbi Humphrey, Bobbi Humphrey, Bobbi Humphrey.
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.