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 Belgium and from Paris.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Tehran and Stockholm.
I'm losing my edge to the art-school Lagos 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 spring reverb 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 Charles Mingus to the dance kids.
I played it at CBGB's.
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 Pulsallama. All the underground hits.
All Youth Brigade tracks. I heard you have a vinyl of every R.M.O. 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 '90s.
I hear you're buying a 808 and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Moleskins record.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Country Teasers,
Magazine,
New York Dolls,
The Black Dice,
Half Japanese,
Amon Düül,
Mary Jane Girls,
The Beau Brummels,
The Misunderstood,
Yaz,
Joyce Sims,
Sad Lovers and Giants,
Drexciya,
The Alarm Clocks,
The Electric Prunes,
Parry Music,
Roy Ayers,
Metal Thangz,
The Index,
Moby Grape,
Graham Central Station,
Oppenheimer Analysis,
Pierre Henry,
Erykah Badu,
The Slits,
Lucky Dragons,
De La Soul & Jungle Brothers,
Chris Corsano,
Fat Boys,
Arab on Radar,
Niagra,
Section 25,
Richard Hell and the Voidoids,
Albert Ayler,
The Motions,
John Holt,
Stereo Dub,
Ultravox,
The Invisible,
Cecil Taylor,
The Cure,
48th St. Collective,
The Trojans,
Beasts of Bourbon,
Roxy Music,
The Raincoats,
Davy DMX,
Howard Jones,
K-Klass,
AZ,
Faraquet,
Popol Vuh,
Chrome,
Gil Scott Heron,
Ronan,
Brand Nubian,
Stiv Bators,
Y Pants,
Trumans Water,
Ultra Naté,
Crime,
The Names,
Nation of Ulysses, Nation of Ulysses, Nation of Ulysses, Nation of Ulysses.
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.