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 Cuba and from Accra.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 Tehran and Calgary.
I'm losing my edge to the art-school Edmonton 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 Lou Reed 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 Patti Smith to the jazz kids.
I played it at the Astoria.
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 Patti Smith. All the underground hits.
All Bobby Womack tracks. I heard you have a vinyl of every Bobby Hutcherson 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 '80s cut and another box set from the '70s.
I hear you're buying a snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Slits record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oblivians,
Kurtis Blow,
Minor Threat,
The Shadows of Knight,
The Star Department,
Maurizio,
Gil Scott Heron,
Andrew Ashong & Theo Parrish,
Scott Walker + Sunn O))),
Heavy D & The Boyz,
Sister Nancy,
X-Ray Spex,
Suburban Knight,
Niagra,
The Fuzztones,
Gil Scott-Heron & Brian Jackson,
Marshall Jefferson,
Aaron Thompson,
Black Pus,
Unrelated Segments,
Panda Bear,
These Immortal Souls,
DNA,
Lou Reed & Metallica,
Ken Boothe,
The Mojo Men,
Aural Exciters,
Heaven 17,
Terry Callier,
The J.B.'s,
Sonic Youth,
The Flesh Eaters,
Massinfluence,
Orchestral Manoeuvres in the Dark,
Sam Rivers,
La Düsseldorf,
The Litter,
Neil Young & Crazy Horse,
Jerry's Kids,
Lalann,
Fad Gadget,
In Retrospect,
KRS-One,
Agitation Free,
Minnie Riperton,
DJ Sneak,
Scan 7,
Jandek,
Boredoms,
Icehouse,
Shuggie Otis,
H. Thieme,
Spandau Ballet,
Chris & Cosey,
Connie Case,
Outsiders,
Dr. Dre and Snoop Doggy Dog,
Gerry Rafferty,
Warren Ellis,
Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth.
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.