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 Lebanon and from Seoul.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 Calgary and Houston.
I'm losing my edge to the art-school Portland 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 Buzzcocks practice in a loft in Bolton.
I was working on the güiro sounds with much patience.
I was there when Lou Reed 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 F. McDonald to the grunge kids.
I played it at the Troubador.
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 Slave. All the underground hits.
All Lyres tracks. I heard you have a vinyl of every The Dirtbombs record on German import.
I heard that you have a white label of every seminal disco 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 a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Fire Engines record.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roy Ayers Ubiquity,
Lakeside,
Average White Band,
Faust,
Howard Jones,
Girls At Our Best!,
Bad Manners,
The Saints,
Gichy Dan,
Byron Stingily,
Al Stewart,
Piero Umiliani,
Masters at Work,
Gang Green,
The Techniques,
Sex Pistols,
Agitation Free,
Cymande,
Maleditus Sound,
Albert Ayler,
Jacob Miller,
Icehouse,
Sexual Harrassment,
The Cramps,
Gil Scott-Heron and Jamie xx,
Rhythm & Sound,
Brothers Johnson,
Hot Snakes,
Juan Atkins,
The Fugs,
the Slits,
Infiniti,
Ice-T,
Rapeman,
Harry Pussy,
Derrick Morgan,
Bobby Womack,
Jacques Brel,
Delta 5,
Brick,
Swell Maps,
Rufus Thomas,
DJ Style,
Isaac Hayes,
Moss Icon,
Major Organ And The Adding Machine,
Robert Wyatt,
The Doors,
Jerry Gold Smith,
Arcadia,
Junior Murvin,
The Vogues,
Slick Rick,
June Days,
Mo-Dettes,
Thee Headcoats,
L. Decosne,
This Heat,
New Order,
Dark Day,
Animal Collective,
Make Up,
Whodini, Whodini, Whodini, Whodini.
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.