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 Bangladesh and from Columbus.
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 1979.
I'm losing my edge.
To all the kids in Tehran and Manila.
I'm losing my edge to the art-school Copenhagen 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the oboe 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 Ohio Players to the rap kids.
I played it at the Crocodile.
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 Grey Daturas. All the underground hits.
All The Birthday Party tracks. I heard you have a vinyl of every The Mojo Men record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a rhodes and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pylon,
Massinfluence,
Country Joe & The Fish,
Spandau Ballet,
Janne Schatter,
Zapp,
The Star Department,
Pole,
Michelle Simonal,
The Modern Lovers,
This Heat,
Kool Moe Dee,
A Certain Ratio,
Crash Course in Science,
Franke,
K-Klass,
Swell Maps,
LL Cool J,
The Associates,
The Chocolate Watch Band,
Pere Ubu,
The Misunderstood,
Main Source,
Johnny Clarke,
Boredoms,
Iggy Pop,
B.T. Express,
Los Fastidios,
Marmalade,
The Blackbyrds,
the Swans,
Kaleidoscope,
New Order,
ABBA,
The Gap Band,
Derrick May,
Inner City,
FM Einheit,
Bronski Beat,
Grandmaster Flash,
Alice Coltrane,
The Fire Engines,
Boz Scaggs,
Black Sheep,
Crispy Ambulance,
Scott Walker,
Eric Dolphy,
Neil Young & Crazy Horse,
London Community Gospel Choir,
Marcia Griffiths,
Todd Terry,
CMW,
Gil Scott Heron,
Absolute Body Control,
Scion,
Pharaoh Sanders and the Fire Engines,
Brothers Johnson,
Japan,
Organ,
Livin' Joy,
Sun Ra,
Television,
Visionaries,LMNO, T- Love & Iriscience,
Radio Birdman, Radio Birdman, Radio Birdman, Radio Birdman.
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.