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 Mauritania and from Halifax.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1970.
I'm losing my edge.
To all the kids in Mexico City and Hong Kong.
I'm losing my edge to the art-school Columbus 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 organ 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 Oneida to the funk kids.
I played it at the Spitz.
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 Litter. All the underground hits.
All R.M.O. tracks. I heard you have a vinyl of every Mars record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a theremin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Rhythim Is Rhythim record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Das Ding,
Bronski Beat,
Super Lover Cee & Casanova Rud,
Grey Daturas,
Susan Cadogan,
Alphaville,
Roxette,
The Motions,
Black Moon,
Oblivians,
Khruangbin,
Porter Ricks,
Fifty Foot Hose,
Fort Wilson Riot,
Grandmaster Flash,
Donald Byrd,
Ituana,
John Holt,
The Velvet Underground,
Maurizio,
Moss Icon,
Ajijia Myrayebe,
The Gap Band,
The Alarm Clocks,
Unwound,
Loose Ends,
Bizarre Inc.,
Deakin,
Brothers Johnson,
The Zeros,
Yusef Lateef,
Glambeats Corp.,
Lungfish,
cv313,
The Last Poets,
Röyhkä ja Rättö ja Lehtisalo,
Newcleus,
Avey Tare's Slasher Flicks,
Hardrive,
Roxy Music,
Derrick Morgan,
Flipper,
Outsiders,
Con Funk Shun,
Scan 7,
Archie Shepp,
Animal Collective,
Jesper Dahlback,
Crash Course in Science,
Gang of Four,
Suburban Knight,
London Community Gospel Choir,
Camberwell Now,
Bobby Womack,
Fluxion,
The Sound,
Jerry Gold Smith,
Monolake,
Bill Wells,
Jimmy McGriff,
PIL, PIL, PIL, PIL.
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.