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 Yemen and from Columbus.
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 1974.
I'm losing my edge.
To all the kids in Woodstock and Sao Paulo.
I'm losing my edge to the art-school Salvador 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the clarinet sounds with much patience.
I was there when Robert Palmer 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 The Toasters to the disco kids.
I played it at the Roxy.
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 Gang Gang Dance. All the underground hits.
All Henry Cow tracks. I heard you have a vinyl of every Rufus Thomas record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Spandau Ballet record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fat Boys,
The Offenders,
Notorious Big And Bone Thugs,
Neil Young & Crazy Horse,
Boogie Down Productions,
Graham Central Station,
Negative Approach,
Marvin Gaye,
Sarah Menescal,
Gang Starr,
Louis and Bebe Barron,
Sunsets and Hearts,
Janne Schatter,
The Mummies,
Camron Feat. Memphis Bleek And Beenie Seigel,
Ash Ra Tempel,
John Holt,
Reagan Youth,
E-Dancer,
Stereo Dub,
David Bowie,
Pharoah Sanders,
Khruangbin,
Mad Mike,
La Düsseldorf,
Half Japanese,
Bluetip,
Royal Trux,
The Monochrome Set,
Popol Vuh,
Altered Images,
Pierre Henry,
Kool Moe Dee,
The Gladiators,
Terrestrial Tones,
DJ Style,
Wasted Youth,
Piero Umiliani,
Agent Orange,
Liliput,
Black Pus,
B.T. Express,
Grandmaster Flash,
The Kinks,
Hot Snakes,
Jesper Dahlbäck,
Siglo XX,
Captain Beefheart & His Magic Band,
Lyres,
Section 25,
Gang Green,
The Wake,
Joe Smooth,
Junior Murvin,
The Knickerbockers,
Bizarre Inc.,
Nas,
Grauzone,
Tropical Tobacco,
Subhumans,
Donny Hathaway,
The Litter, The Litter, The Litter, The Litter.
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.