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 Pakistan and from Hong Kong.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Johannesburg and Tokyo.
I'm losing my edge to the art-school Manchester 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 arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 Ultimate Spinach to the electroclash kids.
I played it at the Roxy.
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 Man Eating Sloth. All the underground hits.
All Sun Ra tracks. I heard you have a vinyl of every Newcleus record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an organ and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Rhythm & Sound record.
I hear that you and your band have sold your sitar and bought a 808.
I hear that you and your band have sold your 808 and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crash Course in Science,
X-102,
Camberwell Now,
Michelle Simonal,
Liliput,
Half Japanese,
One Last Wish,
Radiopuhelimet,
Al Stewart,
Barbara Tucker,
ABBA,
Quadrant,
Traffic Nightmare,
Underground Resistance,
Stetsasonic,
Aural Exciters,
Gil Scott Heron,
The Barracudas,
Nas,
Liaisons Dangereuses,
Red Lorry Yellow Lorry,
Fluxion,
The Index,
Judy Mowatt,
Eden Ahbez,
The Durutti Column,
Marc Romboy vs. Booka Shade,
John Coltrane,
Crooked Eye,
The Young Rascals,
Gabor Szabo,
Connie Case,
48th St. Collective,
Joensuu 1685,
Drexciya,
Eddi Front,
The Count Five,
Japan,
Nils Olav,
Fort Wilson Riot,
Danielle Patucci,
The Wake,
Mo-Dettes,
Curtis Mayfield,
Kevin Saunderson,
Gary Puckett & The Union Gap,
The Neon Judgement,
Pete Rock & C.L. Smooth,
Little Man,
Morten Harket,
Eve St. Jones,
the Soft Cell,
Television Personalities,
Bootsy Collins,
Funkadelic,
Pulsallama,
The Smoke,
Lakeside,
Girls At Our Best!,
B.T. Express,
Flamin' Groovies,
The Cosmic Jokers,
The Toasters, The Toasters, The Toasters, The Toasters.
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.