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 Honduras and from Delhi.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Shanghai and Cairo.
I'm losing my edge to the art-school Seoul 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 Chic practice in a loft in New York.
I was working on the spring reverb 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 Basic Channel to the grime 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 The Misunderstood. All the underground hits.
All The West Coast Pop Art Experimental Band tracks. I heard you have a vinyl of every The Slackers record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Tommy Roe record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Sheep,
Lindisfarne,
Moby Grape,
David Axelrod,
Frankie Knuckles,
The Alarm Clocks,
Flamin' Groovies,
Todd Rundgren,
James Chance & The Contortions,
Quadrant,
Nico,
the Slits,
Model 500,
Masters at Work,
Echo & the Bunnymen,
The Star Department,
Louis and Bebe Barron,
Richard Hell and the Voidoids,
Roger Hodgson,
Monolake,
China Crisis,
Juan Atkins,
Chris Corsano,
Laurel Aitken,
The Monks,
Pharoah Sanders,
Faraquet,
The Gories,
Terror Squad Feat. Camron,
Grey Daturas,
Kool G Rap & DJ Polo,
Piero Umiliani,
Maleditus Sound,
Country Teasers,
the Germs,
Public Image Ltd.,
A Flock of Seagulls,
Technova,
Derrick May,
Silicon Teens,
Gang Starr,
Boredoms,
Aaron Thompson,
Glambeats Corp.,
UT,
Michelle Simonal,
The Gap Band,
Supertramp,
Bad Manners,
Deadbeat,
Cameo,
Index,
The Slits,
Ultravox,
Neil Young,
Tears for Fears,
Ten City,
Roxette,
Dorothy Ashby,
The J.B.'s,
Skriet, Skriet, Skriet, Skriet.
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.