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 Guinea and from Beijing.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Sao Paulo and New York.
I'm losing my edge to the art-school Paris 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 rhodes sounds with much patience.
I was there when Nile Rodgers 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 X-102 to the punk kids.
I played it at the Crocodile.
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 Camberwell Now. All the underground hits.
All Circle Jerks tracks. I heard you have a vinyl of every Joey Negro 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 '50s cut and another box set from the '90s.
I hear you're buying a sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Albert Ayler record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sixth Finger,
Jacques Brel,
Eve St. Jones,
Roy Ayers Ubiquity,
The Smiths,
Bad Manners,
Khruangbin,
Pole,
Glenn Branca,
Ralphi Rosario,
Theoretical Girls,
Zero Boys,
Skaos,
Grandmaster Flash and the Furious Five,
Essential Logic,
Gastr Del Sol,
The Techniques,
the Germs,
The Move,
Deadbeat,
the Swans,
Gregory Isaacs,
Vaughan Mason & Crew,
Shoche,
The Sound,
Bill Near,
Fifty Foot Hose,
Faust,
Masters at Work,
The Detroit Cobras,
The Dave Clark Five,
The Leaves,
Jerry Gold Smith,
Bootsy's Rubber Band,
The Fall,
Pierre Henry,
Tommy Roe,
Rakim,
Swell Maps,
Rekid,
John Holt,
Notorious BIG live in Amsterdam,
The Cure,
Maurizio,
The Last Poets,
Bobby Womack,
The Smoke,
Colin Newman,
Livin' Joy,
Von Mondo,
Aloha Tigers,
Donald Byrd,
Major Organ And The Adding Machine,
Crime,
Jeru the Damaja,
Erykah Badu,
the Fania All-Stars,
Radio Birdman,
Harpers Bizarre,
Peter Gordon & Love of Life Orchestra,
EPMD,
the Human League,
Sex Pistols,
Fear, Fear, Fear, Fear.
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.