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 Andorra and from Jakarta.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Beijing and Toronto.
I'm losing my edge to the art-school Tokyo 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 Big Star practice in a loft in Memphis.
I was working on the güiro sounds with much patience.
I was there when David Bowie 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 Symarip to the crunk kids.
I played it at the Hacienda.
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 Mighty Diamonds. All the underground hits.
All Altered Images tracks. I heard you have a vinyl of every Saccharine Trust 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 '80s cut and another box set from the '90s.
I hear you're buying a 808 and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a 48th St. Collective record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
T.S.O.L.,
Roxette,
Fela Kuti,
Ituana,
Thee Headcoats,
Dawn Penn,
Darondo,
OOIOO,
The Vogues,
Minor Threat,
Warsaw,
Avey Tare,
Derrick May,
Sugar Minott,
The Litter,
Roxy Music,
Mo-Dettes,
Ice-T,
Hot Snakes,
8 Eyed Spy,
Mandrill,
Moss Icon,
Art Ensemble Of Chicago,
Can,
The Fire Engines,
New Age Steppers,
Cymande,
Sam Rivers,
Shuggie Otis,
Wighnomy Brothers & Robag Wruhme,
James Chance & The Contortions,
Gabor Szabo,
Rapeman,
Television,
The Beau Brummels,
Dual Sessions,
Zapp,
The Wake,
Interpol,
ABC,
DeepChord presents Echospace,
R.M.O.,
Kayak,
Inner City,
The Human League,
Mantronix,
Ohio Players,
Tom Boy,
Notorious Big And Bone Thugs,
Vaughan Mason & Crew,
the Bar-Kays,
Desert Stars,
Scientists,
Lakeside,
Kool G Rap & DJ Polo,
Joensuu 1685,
Peter and Kerry,
Howard Jones,
Sexual Harrassment,
Nirvana,
Big Daddy Kane,
Oppenheimer Analysis,
Maleditus Sound,
Fatback Band, Fatback Band, Fatback Band, Fatback Band.
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.