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 Maldives and from Madrid.
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 1967 to 1970.
I'm losing my edge.
To all the kids in New York and Salvador.
I'm losing my edge to the art-school Seoul 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the synthesizer sounds with much patience.
I was there when Michael McDonald 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 Byron Stingily to the rock 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 Joy Division. All the underground hits.
All Slave tracks. I heard you have a vinyl of every Gil Scott-Heron & Brian Jackson record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Detroit Cobras record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Hill,
Television,
Gregory Isaacs,
Hashim,
Sugar Minott,
Ralphi Rosario,
Tomorrow,
Eli Mardock,
Porter Ricks,
Ponytail,
Buzzcocks,
Tommy Roe,
Todd Rundgren,
Arab on Radar,
Yaz,
Roxette,
Skaos,
Black Sheep,
Lungfish,
Accadde A,
Bob Dylan,
Judy Mowatt,
Rowland S Howard / Lydia Lunch,
Rosa Yemen,
The Happenings,
Wasted Youth,
the Human League,
Quando Quango,
Wally Richardson,
Delon & Dalcan,
Circle Jerks,
Camron Feat. Jay Z And Juelz,
Roy Ayers Ubiquity,
PIL,
Clear Light,
Funkadelic,
June of 44,
Notorious Big And Bone Thugs,
Terrestrial Tones,
The Peanut Butter Conspiracy,
Brass Construction,
Lou Reed,
Minnie Riperton,
Neu!,
Moss Icon,
Subhumans,
Bad Manners,
The Mummies,
Eyeless In Gaza,
Ash Ra Tempel,
Man Eating Sloth,
Eurythmics,
Negative Approach,
Echospace,
The American Breed,
Notorious BIG live in Amsterdam,
Babytalk,
Barrington Levy,
Audionom,
Moebius,
EPMD,
Steve Hackett,
The Standells, The Standells, The Standells, The Standells.
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.