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 Gabon and from Calgary.
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 1970.
I'm losing my edge.
To all the kids in Beijing and Columbus.
I'm losing my edge to the art-school Milan 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 808 sounds with much patience.
I was there when Captain Beefheart 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 Matthew Bourne to the funk 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 Altered Images. All the underground hits.
All Mr. Review tracks. I heard you have a vinyl of every Quantec 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 '60s cut and another box set from the '90s.
I hear you're buying a marimba and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Slave record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Popol Vuh,
Gil Scott-Heron and Jamie xx,
The Doobie Brothers,
Avey Tare,
Mars,
OOIOO,
Bizarre Inc.,
Maleditus Sound,
Soulsonic Force,
Archie Shepp,
Wighnomy Brothers & Robag Wruhme,
The West Coast Pop Art Experimental Band,
Kurtis Blow,
Toni Rubio,
Harry Pussy,
Dave Gahan,
The Monks,
Inner City,
The Sonics,
Marc Romboy vs. Booka Shade,
L. Decosne,
Pete Rock & C.L. Smooth,
LL Cool J,
Sound Behaviour,
Unrelated Segments,
Cal Tjader,
Make Up,
Trumans Water,
Al Stewart,
Connie Case,
Ten City,
Rites of Spring,
Suburban Knight,
Kas Product,
Nick Fraelich,
the Swans,
Lucky Dragons,
Bush Tetras,
The Saints,
Neil Young & Crazy Horse,
KRS-One,
F. McDonald,
The Jesus and Mary Chain,
Ludus,
Soft Cell,
Section 25,
Fort Wilson Riot,
Harpers Bizarre,
Pole,
Avey Tare's Slasher Flicks,
Excepter,
The Shadows of Knight,
The Mummies,
Ajijia Myrayebe,
Thee Headcoats,
Tom Boy,
T.S.O.L.,
Gong,
Nico,
Terror Squad Feat. Camron,
Liliput,
Monks,
Jesper Dahlbäck,
48th St. Collective, 48th St. Collective, 48th St. Collective, 48th St. Collective.
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.