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 Switzerland and from Stockholm.
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 1977.
I'm losing my edge.
To all the kids in Mumbai and Paris.
I'm losing my edge to the art-school Seoul 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 1967 at the first Rodriguez practice in a loft in Detroit.
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 Marcia Griffiths to the grime kids.
I played it at the Crocodile.
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 Rhythim Is Rhythim. All the underground hits.
All Connie Case tracks. I heard you have a vinyl of every Suburban Knight 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 '70s cut and another box set from the '80s.
I hear you're buying a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Albert Ayler record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dead Boys,
Piero Umiliani,
Red Lorry Yellow Lorry,
Fat Boys,
The Neon Judgement,
R.M.O.,
Wighnomy Brothers & Robag Wruhme,
James White and The Blacks,
Thompson Twins,
Boz Scaggs,
Quando Quango,
Matthew Bourne,
The Monks,
The Seeds,
Slave,
Los Fastidios,
Junior Murvin,
Urselle,
Soft Machine,
Pet Shop Boys,
The Standells,
Glenn Branca,
New Age Steppers,
F. McDonald,
Barry Ungar,
The Divine Comedy,
Tomorrow,
Altered Images,
Laurel Aitken,
Rhythm & Sound,
Wire,
Sugar Minott,
Sonny Sharrock,
Terry Callier,
Public Enemy,
Outsiders,
Crime,
Eric Copeland,
Q and Not U,
E-Dancer,
Roy Ayers Ubiquity,
Prince Buster,
Sun Ra Arkestra,
Tommy Roe,
The Move,
Terrestrial Tones,
The Saints,
Al Stewart,
Suburban Knight,
The Slits,
Electric Light Orchestra,
A Flock of Seagulls,
Japan,
Major Organ And The Adding Machine,
Panda Bear,
Sonic Youth,
Fear,
Fatback Band,
The Peanut Butter Conspiracy,
the Germs,
The Remains,
Jeff Mills,
The Litter, The Litter, The Litter, The Litter.
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.