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 New Zealand and from Calgary.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Edmonton and Stockholm.
I'm losing my edge to the art-school Beijing 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 snare 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 Ponytail to the rap kids.
I played it at Cafe Wha.
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 Howard Jones. All the underground hits.
All Theoretical Girls tracks. I heard you have a vinyl of every Minnie Riperton 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 an arpeggiator and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Happenings record.
I hear that you and your band have sold your organ and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Derrick Morgan,
The Remains,
Boz Scaggs,
The Wake,
The Detroit Cobras,
Slave,
Hoover,
The West Coast Pop Art Experimental Band,
Au Pairs,
The Mojo Men,
Danielle Patucci,
Siglo XX,
Ken Boothe,
Peter & Gordon,
Aswad,
Youth Brigade,
Nas,
Blancmange,
Eyeless In Gaza,
Davy DMX,
The Slits,
Pylon,
Mars,
Strawberry Alarm Clock,
L. Decosne,
The United States of America,
Peter Gordon & Love of Life Orchestra,
LL Cool J,
Pete Rock & C.L. Smooth,
Trumans Water,
Art Ensemble Of Chicago,
Minnie Riperton,
Sällskapet,
Masters at Work,
Maurizio,
Stereo Dub,
Crispian St. Peters,
Jimmy McGriff,
The Cosmic Jokers,
Fear,
The Five Americans,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Divine Comedy,
Gregory Isaacs,
Sunsets and Hearts,
DeepChord presents Echospace,
Lou Reed,
Gastr Del Sol,
Pierre Henry,
Bill Wells,
Monolake,
Wighnomy Brothers & Robag Wruhme,
The Names,
Index,
Avey Tare,
The Durutti Column,
Ituana,
Andrew Hill,
Pole,
Pharaoh Sanders and the Fire Engines,
June Days,
Morten Harket,
Blossom Toes,
Black Flag, Black Flag, Black Flag, Black Flag.
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.