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 Japan and from Stockholm.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Manchester and Mexico City.
I'm losing my edge to the art-school Hong Kong 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 808 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 B.T. Express to the funk 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 Bad Manners. All the underground hits.
All Dennis Brown tracks. I heard you have a vinyl of every KRS-One 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 '70s cut and another box set from the '80s.
I hear you're buying a theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Theoretical Girls record.
I hear that you and your band have sold your marimba and bought a marimba.
I hear that you and your band have sold your marimba and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric Dolphy,
Grandmaster Flash and the Furious Five,
The Fire Engines,
Bobby Sherman,
Drexciya,
Letta Mbulu,
Parry Music,
Jimmy McGriff,
Model 500,
Rosa Yemen,
Deakin,
Donny Hathaway,
Gerry Rafferty,
Ultravox,
Art Ensemble Of Chicago,
Pylon,
Robert Hood,
the Sonics,
Y Pants,
The Peanut Butter Conspiracy,
Essential Logic,
the Slits,
K-Klass,
Excepter,
Howard Jones,
Sun Ra Arkestra,
Connie Case,
Lee Hazlewood,
Make Up,
Tommy Roe,
The Flesh Eaters,
Circle Jerks,
Trumans Water,
Country Teasers,
Wings,
Easy Going,
Roy Ayers Ubiquity,
Smog,
Avey Tare & Kría Brekkan,
Slave,
Los Fastidios,
Sällskapet,
A Certain Ratio,
Fugazi,
Jacob Miller,
The J.B.'s,
Brand Nubian,
Albert Ayler,
The Detroit Cobras,
The Pretty Things,
Amazonics,
Crime,
The Red Krayola,
Nirvana,
Magma,
Stereo Dub,
Kevin Saunderson,
Barry Ungar,
Byron Stingily,
Pere Ubu,
Procol Harum, Procol Harum, Procol Harum, Procol Harum.
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.