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 Costa Rica and from Mumbai.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Accra and Calgary.
I'm losing my edge to the art-school Taipei 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 1984 at the first Arcadia practice in a loft in London.
I was working on the organ sounds with much patience.
I was there when Donald Fagen 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 Aaron Thompson to the crunk kids.
I played it at CBGB's.
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 The Real Kids. All the underground hits.
All Lou Reed tracks. I heard you have a vinyl of every The Cure record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Walker Brothers record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hot Snakes,
James Chance & The Contortions,
Heavy D & The Boyz,
Technova,
The United States of America,
Jacob Miller,
Aloha Tigers,
Brass Construction,
Pere Ubu,
Ash Ra Tempel,
Max Romeo,
Lakeside,
The Techniques,
Gabor Szabo,
The Cosmic Jokers,
Eric Dolphy,
Unwound,
the Association,
The Birthday Party,
Leonard Cohen,
The Alarm Clocks,
Kayak,
One Last Wish,
The Vogues,
Vaughan Mason & Crew,
The Gories,
Rufus Thomas,
Neil Young & Crazy Horse,
Curtis Mayfield,
Roxy Music,
Visage,
Warsaw,
Lonnie Liston Smith,
Little Man,
Rekid,
a-ha,
Charles Mingus,
Janne Schatter,
the Soft Cell,
Rod Modell,
Fluxion,
Gian Franco Pienzio,
Big Daddy Kane,
The Young Rascals,
Rhythim Is Rhythim,
John Cale,
The Move,
Larry & the Blue Notes,
Glambeats Corp.,
Yusef Lateef,
Jerry Gold Smith,
F. McDonald,
Lou Reed & Metallica,
DeepChord presents Echospace,
Joy Division,
Public Image Ltd.,
The Invisible,
Subhumans,
Eden Ahbez,
Drive Like Jehu,
David McCallum,
Angels of Light & Akron/Family,
Gil Scott Heron, Gil Scott Heron, Gil Scott Heron, Gil Scott Heron.
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.