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 Denmark and from Seoul.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Beijing and Columbus.
I'm losing my edge to the art-school Lagos 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the mellotron 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 Roxette to the funk 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 Peter & Gordon. All the underground hits.
All The Fortunes tracks. I heard you have a vinyl of every Minor Threat record on German import.
I heard that you have a white label of every seminal grime 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 güiro and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Aaron Thompson record.
I hear that you and your band have sold your 808 and bought an oboe.
I hear that you and your band have sold your oboe and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roy Ayers Ubiquity,
Eric B and Rakim,
Stetsasonic,
Johnny Clarke,
Interpol,
Camberwell Now,
Liaisons Dangereuses,
Agent Orange,
Section 25,
JFA,
Susan Cadogan,
Depeche Mode,
Marcia Griffiths,
Nico,
Cymande,
Freddie Wadling,
Eyeless In Gaza,
Scion,
Agitation Free,
Camouflage,
The Associates,
Goldenarms,
Minny Pops,
Lyres,
Jesper Dahlbäck,
Kauko Röyhkä ja Narttu,
Theoretical Girls,
Harry Pussy,
Banda Bassotti,
The Detroit Cobras,
Skarface,
Bizarre Inc.,
Tim Buckley,
Pantaleimon,
Boz Scaggs,
Mo-Dettes,
B.T. Express,
Juan Atkins,
Faraquet,
Brick,
David Axelrod,
Soulsonic Force,
Graham Central Station,
Guru Guru,
Sam Rivers,
T. Rex,
Amon Düül,
Jandek,
Joyce Sims,
Carl Craig,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Ponytail,
Make Up,
Albert Ayler,
Fad Gadget,
Newcleus,
Scott Walker,
Roxy Music,
Drexciya,
Cecil Taylor,
Whodini,
Rhythim Is Rhythim,
Bob Dylan,
The Fugs, The Fugs, The Fugs, The Fugs.
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.