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 El Salvador and from Mexico City.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Stockholm and New York.
I'm losing my edge to the art-school Manila 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the sitar sounds with much patience.
I was there when Michael McDonald 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 Anakelly to the electroclash 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 In Retrospect. All the underground hits.
All New Order tracks. I heard you have a vinyl of every Mr. Review 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 '50s cut and another box set from the '70s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Walker Brothers record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Man Parrish,
FM Einheit,
Can,
Notorious BIG live in Amsterdam,
Scratch Acid,
Chrome,
Silicon Teens,
Ludus,
10cc,
Carl Craig,
Porter Ricks,
Juan Atkins,
June Days,
Ultimate Spinach,
Lou Reed & John Cale,
Marshall Jefferson,
Lightning Bolt,
Peter & Gordon,
Harry Pussy,
The American Breed,
The Cowsills,
A Flock of Seagulls,
Cymande,
Organ,
Lou Reed,
Lizzy Mercier Descloux,
Harmonia,
Soul Sonic Force,
Stetsasonic,
E-Dancer,
Marine Girls,
London Community Gospel Choir,
Camberwell Now,
Iggy Pop,
Nick Cave & The Bad Seeds,
the Swans,
Idris Muhammad,
Wolf Eyes,
Whodini,
The Cramps,
Chris Corsano,
Soft Cell,
The Selecter,
Shuggie Otis,
Unrelated Segments,
Selector Dub Narcotic,
Basic Channel,
Skriet,
Lakeside,
Aswad,
The Beau Brummels,
Electric Light Orchestra,
Rites of Spring,
Motorama,
Brass Construction,
Public Image Ltd.,
Letta Mbulu,
The Jesus and Mary Chain,
Jeru the Damaja,
Bobbi Humphrey,
Röyhkä ja Rättö ja Lehtisalo,
De La Soul & Jungle Brothers, De La Soul & Jungle Brothers, De La Soul & Jungle Brothers, De La Soul & Jungle Brothers.
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.