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 Turkmenistan and from Accra.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1972.
I'm losing my edge.
To all the kids in Johannesburg and Manchester.
I'm losing my edge to the art-school Bologna 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 spring reverb sounds with much patience.
I was there when Tom Verlaine 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 Lonnie Liston Smith to the techno kids.
I played it at the Astoria.
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 David Axelrod. All the underground hits.
All Babytalk tracks. I heard you have a vinyl of every Gang Gang Dance record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a clarinet and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Smiths record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Notorious Big And Bone Thugs,
Lou Reed,
8 Eyed Spy,
The Fortunes,
Patti Smith,
Flash Fearless,
Mantronix,
B.T. Express,
Make Up,
the Germs,
Boogie Down Productions,
Cymande,
Model 500,
Wire,
Half Japanese,
Eddi Front,
Aswad,
T. Rex,
Red Lorry Yellow Lorry,
Public Image Ltd.,
Soul II Soul,
Stereo Dub,
Easy Going,
Black Sheep,
Adolescents,
Sunsets and Hearts,
Pole,
Roxette,
Steve Hackett,
Lyres,
Black Bananas,
Whodini,
Ituana,
Marvin Gaye,
Pussy Galore,
Skarface,
Neil Young & Crazy Horse,
Camouflage,
Sound Behaviour,
Harmonia,
The Golliwogs,
Unrelated Segments,
Soft Cell,
Idris Muhammad,
The Seeds,
Nas,
The Evens,
Franke,
The Last Poets,
Dennis Brown,
The Saints,
Echo & the Bunnymen,
Darondo,
Nation of Ulysses,
Soul Sonic Force,
Sight & Sound,
Röyhkä ja Rättö ja Lehtisalo,
La Düsseldorf,
H. Thieme,
Chrome,
Faust,
Stockholm Monsters,
Fela Kuti,
The Blackbyrds, The Blackbyrds, The Blackbyrds, The Blackbyrds.
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.