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 Portugal and from Tehran.
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 1962 to 1979.
I'm losing my edge.
To all the kids in New York and Halifax.
I'm losing my edge to the art-school Salvador 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the rhodes sounds with much patience.
I was there when Donald Fagen 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 Kurtis Blow to the crunk 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 Ultravox. All the underground hits.
All Kaleidoscope tracks. I heard you have a vinyl of every Ajijia Myrayebe 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 '50s cut and another box set from the '90s.
I hear you're buying a guitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Avey Tare & Kría Brekkan record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Symarip,
Gong,
Kevin Saunderson,
It's A Beautiful Day,
8 Eyed Spy,
Red Lorry Yellow Lorry,
The Beau Brummels,
Hardrive,
MC5,
Sparks,
Unwound,
Arthur Verocai,
Minnie Riperton,
Jesper Dahlbäck,
Nik Kershaw,
Glambeats Corp.,
The Kinks,
F. McDonald,
Television Personalities,
Can,
Inner City,
Banda Bassotti,
Hashim,
Joyce Sims,
Excepter,
Absolute Body Control,
The Toasters,
Joey Negro,
Stetsasonic,
Kerri Chandler,
Cybotron,
Animal Collective,
The Real Kids,
Tears for Fears,
Deadbeat,
Bizarre Inc.,
The Last Poets,
Fort Wilson Riot,
The Fire Engines,
Masters at Work,
Mo-Dettes,
the Germs,
The Move,
Junior Murvin,
the Sonics,
Sly & The Family Stone,
Ultramagnetic MC's,
The Selecter,
The Raincoats,
Ajijia Myrayebe,
K-Klass,
Unrelated Segments,
Charles Mingus,
Ultravox,
Audionom,
Crooked Eye,
Jeru the Damaja,
The Walker Brothers,
Rotary Connection,
Gregory Isaacs,
Public Image Ltd.,
The Residents, The Residents, The Residents, The Residents.
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.