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 Belize and from Shanghai.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Manila and Accra.
I'm losing my edge to the art-school Mexico City 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 synthesizer 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 Robert Hood to the crunk kids.
I played it at Cafe Wha.
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 Association. All the underground hits.
All Sarah Menescal tracks. I heard you have a vinyl of every Gil Scott-Heron & Brian Jackson record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Nirvana record.
I hear that you and your band have sold your mellotron and bought a snare.
I hear that you and your band have sold your snare and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Selecter,
Anthony Braxton,
Essential Logic,
Monks,
Agitation Free,
Black Flag,
Simply Red,
Marc Romboy vs. Booka Shade,
Fatback Band,
Godley & Creme,
Rufus Thomas,
Intrusion,
Judy Mowatt,
Janne Schatter,
Iggy Pop,
KRS-One,
Wasted Youth,
Flash Fearless,
Max Romeo,
Magazine,
The Gories,
Gong,
Jacob Miller,
Tubeway Army,
Black Moon,
John Coltrane,
Talk Talk,
Be Bop Deluxe,
Shuggie Otis,
Ponytail,
Lalo Schifrin,
Joey Negro,
Arab on Radar,
Bobby Sherman,
Basic Channel,
The Jesus and Mary Chain,
The Birthday Party,
Don Cherry,
Notorious Big And Bone Thugs,
The Move,
Faraquet,
June of 44,
Sparks,
Blossom Toes,
The Flesh Eaters,
The Beau Brummels,
Yaz,
The Star Department,
Echo & the Bunnymen,
Ossler,
Rhythm & Sound,
James White and The Blacks,
the Human League,
EPMD,
Depeche Mode,
Rahsaan Roland Kirk,
Todd Terry,
Lalann,
The Smoke,
Josef K,
Matthew Bourne,
Joensuu 1685,
Sandy B,
The Music Machine, The Music Machine, The Music Machine, The Music Machine.
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.