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 Lesotho and from Houston.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Johannesburg and Columbus.
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 organ 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 Grauzone to the crunk 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 The Black Dice. All the underground hits.
All Lou Reed & Metallica tracks. I heard you have a vinyl of every Gerry Rafferty record on German import.
I heard that you have a white label of every seminal grime 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 linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Arthur Verocai record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rod Modell,
The Neon Judgement,
Unrelated Segments,
Darondo,
Dual Sessions,
Sarah Menescal,
Lalo Schifrin,
Grandmaster Flash,
De La Soul & Jungle Brothers,
Joe Finger,
The Saints,
Curtis Mayfield,
Cheater Slicks,
Tim Buckley,
Connie Case,
Masters at Work,
Aloha Tigers,
Jimmy McGriff,
The Monochrome Set,
The Slackers,
Thee Headcoats,
Barry Ungar,
Shuggie Otis,
Toni Rubio,
Lower 48,
A Flock of Seagulls,
Pharaoh Sanders and the Fire Engines,
Magma,
cv313,
Negative Approach,
Davy DMX,
Sex Pistols,
Minutemen,
The Durutti Column,
James Chance & The Contortions,
Interpol,
Flash Fearless,
Warsaw,
Johnny Osbourne,
Amon Düül II,
Jacob Miller,
The United States of America,
Loose Ends,
Moss Icon,
Gian Franco Pienzio,
Lebanon Hanover,
Nation of Ulysses,
Godley & Creme,
Saccharine Trust,
Scratch Acid,
The American Breed,
The Golliwogs,
Wighnomy Brothers & Robag Wruhme,
John Coltrane,
Gil Scott-Heron and Jamie xx,
Rhythim Is Rhythim,
Ultra Naté,
Glambeats Corp.,
Von Mondo,
The Flesh Eaters,
Intrusion,
Eurythmics, Eurythmics, Eurythmics, Eurythmics.
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.