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 Liechtenstein and from Stockholm.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Toronto and Hong Kong.
I'm losing my edge to the art-school Manila 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 Wire practice in a loft in Watford.
I was working on the synthesizer sounds with much patience.
I was there when Captain Beefheart 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 Gichy Dan to the dance kids.
I played it at the Spitz.
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 X-102. All the underground hits.
All Aural Exciters tracks. I heard you have a vinyl of every Juan Atkins 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 '60s cut and another box set from the '90s.
I hear you're buying a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Talk Talk record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Remains,
Yusef Lateef,
Anakelly,
Notorious Big And Bone Thugs,
Kerri Chandler,
Japan,
The Royal Family And The Poor,
48th St. Collective,
Andrew Ashong & Theo Parrish,
Cecil Taylor,
Steve Hackett,
Joe Finger,
Peter & Gordon,
The Standells,
Barrington Levy,
Thinking Fellers Union Local 282,
The Detroit Cobras,
Selector Dub Narcotic,
Ludus,
Yazoo,
F. McDonald,
Bill Near,
The Mummies,
Arthur Verocai,
Lou Reed,
The Names,
Byron Stingily,
the Slits,
Franke,
Pharoah Sanders,
Minutemen,
Sight & Sound,
Fifty Foot Hose,
Rites of Spring,
The Smiths,
Rhythim Is Rhythim,
The Wake,
Glambeats Corp.,
Brand Nubian,
Rotary Connection,
Ice-T,
The Black Dice,
MDC,
Youth Brigade,
Sparks,
Fatback Band,
Scientists,
Nick Cave & The Bad Seeds,
Yaz,
Suicide,
Bootsy Collins,
Buzzcocks,
Spoonie Gee,
Sex Pistols,
Roy Ayers,
The Doors,
Judy Mowatt,
Scrapy,
Young Marble Giants,
The Mighty Diamonds,
The Dave Clark Five,
Todd Terry,
Anthony Braxton,
The Shadows of Knight, The Shadows of Knight, The Shadows of Knight, The Shadows of Knight.
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.