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 Russia and from Edmonton.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Salvador and Jakarta.
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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the spring reverb 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 Sarah Menescal to the crunk kids.
I played it at the Troubador.
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 Human League. All the underground hits.
All Bill Wells tracks. I heard you have a vinyl of every Ornette Coleman record on German import.
I heard that you have a white label of every seminal punk 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 güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Khruangbin record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sarah Menescal,
Brick,
Strawberry Alarm Clock,
Boz Scaggs,
Spandau Ballet,
Wire,
Audionom,
L. Decosne,
Camron Feat. Memphis Bleek And Beenie Seigel,
Heavy D & The Boyz,
Sixth Finger,
Absolute Body Control,
Section 25,
It's A Beautiful Day,
X-102,
Juan Atkins,
Ralphi Rosario,
Bang On A Can,
This Heat,
Deadbeat,
The Gories,
Rapeman,
The Gap Band,
Circle Jerks,
Mr. Review,
Quadrant,
Mandrill,
Zero Boys,
Drive Like Jehu,
Guru Guru,
Funky Four + One,
Gil Scott-Heron & Brian Jackson,
Popol Vuh,
The Beau Brummels,
Art Ensemble Of Chicago,
Von Mondo,
The Blues Magoos,
Amazonics,
Bronski Beat,
Lou Reed & Metallica,
Newcleus,
Brass Construction,
Gang Starr,
Warren Ellis,
Oblivians,
Blake Baxter,
Joensuu 1685,
ABBA,
Lonnie Liston Smith,
Steve Hackett,
Goldenarms,
Piero Umiliani,
The Gladiators,
Grandmaster Flash,
The Birthday Party,
The Barracudas,
One Last Wish,
Todd Rundgren,
Tom Boy,
Scratch Acid,
The Modern Lovers,
Minutemen,
The Detroit Cobras, The Detroit Cobras, The Detroit Cobras, The Detroit Cobras.
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.