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 Palau and from Columbus.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Houston and Philadelphia.
I'm losing my edge to the art-school Tehran 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 arpeggiator sounds with much patience.
I was there when Nile Rodgers 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 Sarah Menescal to the grunge kids.
I played it at the 40 Watt.
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 Circle Jerks. All the underground hits.
All Manfred Mann's Earth Band tracks. I heard you have a vinyl of every The Index record on German import.
I heard that you have a white label of every seminal electroclash 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 mellotron and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Minor Threat record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aaron Thompson,
Television,
Model 500,
Lucky Dragons,
Minny Pops,
Brand Nubian,
Minnie Riperton,
Peter & Gordon,
Crooked Eye,
Rhythim Is Rhythim,
Warren Ellis,
The Residents,
Gregory Isaacs,
Wighnomy Brothers & Robag Wruhme,
Pete Rock & C.L. Smooth,
Barry Ungar,
The Flesh Eaters,
Louis and Bebe Barron,
Lafayette Afro Rock Band,
Ohio Players,
Massinfluence,
Faraquet,
Reuben Wilson,
Oblivians,
The Men They Couldn't Hang,
Bang on a Can All-Stars,
DNA,
Black Pus,
FM Einheit,
Bad Manners,
Soft Cell,
Mars,
Bronski Beat,
Richard Hell and the Voidoids,
Gichy Dan,
Goldenarms,
Livin' Joy,
The Neon Judgement,
Tomorrow,
Dorothy Ashby,
The Velvet Underground,
Stiv Bators,
The Fugs,
Crispy Ambulance,
David McCallum,
Albert Ayler,
Graham Central Station,
The Moody Blues,
Stockholm Monsters,
Girls At Our Best!,
Jeru the Damaja,
London Community Gospel Choir,
De La Soul & Jungle Brothers,
Absolute Body Control,
The Gories,
Donald Byrd,
Con Funk Shun,
Juan Atkins,
Bobby Womack,
Gong,
The Monochrome Set,
Bill Wells, Bill Wells, Bill Wells, Bill Wells.
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.