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 Korea South and from New York.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Halifax and Mumbai.
I'm losing my edge to the art-school Calgary 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 Chic practice in a loft in New York.
I was working on the linndrum 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 New York Dolls to the disco 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 Rhythm & Sound. All the underground hits.
All Pantytec tracks. I heard you have a vinyl of every James Chance & The Contortions record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Hill record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kevin Saunderson,
Kurtis Blow,
Johnny Clarke,
Oppenheimer Analysis,
Marine Girls,
Peter & Gordon,
Spandau Ballet,
The Star Department,
Fear,
Aaron Thompson,
Roxette,
Monks,
Crash Course in Science,
Mandrill,
Theoretical Girls,
Qualms,
Maleditus Sound,
Bootsy Collins,
R.M.O.,
Angels of Light & Akron/Family,
the Association,
A Flock of Seagulls,
Procol Harum,
The Sound,
This Heat,
Selector Dub Narcotic,
Unrelated Segments,
The Searchers,
10cc,
John Lydon,
Pete Rock & C.L. Smooth,
The Knickerbockers,
Gregory Isaacs,
Funkadelic,
Kayak,
Eric B and Rakim,
Ornette Coleman,
Hasil Adkins,
Hot Snakes,
The Martian,
Brand Nubian,
Swell Maps,
Strawberry Alarm Clock,
Scan 7,
Yusef Lateef,
China Crisis,
Sex Pistols,
Roy Ayers Ubiquity,
Desert Stars,
Charles Mingus,
Justin Hinds & The Dominoes,
X-102,
the Sonics,
Hardrive,
Bobby Hutcherson,
The Victims,
Dawn Penn,
The Raincoats,
N.O.R.E. Featuring Pharrell,
Eyeless In Gaza,
Bizarre Inc.,
Absolute Body Control,
The Leaves, The Leaves, The Leaves, The Leaves.
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.