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 Somalia and from Calgary.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Beijing and Seoul.
I'm losing my edge to the art-school New York 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the arpeggiator sounds with much patience.
I was there when Robert Palmer 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 Hot Snakes to the funk 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 Sixth Finger. All the underground hits.
All Desert Stars tracks. I heard you have a vinyl of every Johnny Clarke 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 '60s cut and another box set from the '80s.
I hear you're buying a guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Nas record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Loose Ends,
Panda Bear,
Todd Terry,
The Doors,
Teenage Jesus and the Jerks,
The Last Poets,
Morten Harket,
Soul Sonic Force,
Babytalk,
Hashim,
Roy Ayers,
Franke,
Tom Boy,
Sad Lovers and Giants,
Pierre Henry,
Sunsets and Hearts,
The Dead C,
The Modern Lovers,
The Evens,
Easy Going,
Bush Tetras,
Dave Gahan,
Liliput,
Arthur Verocai,
Altered Images,
Crispy Ambulance,
E-Dancer,
the Human League,
Half Japanese,
Unwound,
Popol Vuh,
Ultra Naté,
These Immortal Souls,
The Human League,
The Star Department,
Tommy Roe,
Eric Dolphy,
Scratch Acid,
Camron Feat. Memphis Bleek And Beenie Seigel,
Darondo,
Grandmaster Flash and the Furious Five,
Glenn Branca,
Wally Richardson,
Selector Dub Narcotic,
Judy Mowatt,
Marmalade,
T. Rex,
Avey Tare's Slasher Flicks,
Monks,
The Sisters of Mercy,
Mad Mike,
Zapp,
Terror Squad Feat. Camron,
Sound Behaviour,
X-102,
Bobby Hutcherson,
The Durutti Column,
Goldenarms,
X-101,
The Move,
Lizzy Mercier Descloux,
ABBA,
R.M.O.,
Kas Product, Kas Product, Kas Product, Kas Product.
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.