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 Bolivia and from Manchester.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Philadelphia and Mumbai.
I'm losing my edge to the art-school Delhi 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 rhodes sounds with much patience.
I was there when Tom Verlaine 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 Grandmaster Flash and the Furious Five to the rap kids.
I played it at the 40 Watt.
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 Ralphi Rosario. All the underground hits.
All Supertramp tracks. I heard you have a vinyl of every Hasil Adkins 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 rhodes and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Thompson Twins record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
KRS-One,
Slave,
The Detroit Cobras,
Aloha Tigers,
Wighnomy Brothers & Robag Wruhme,
Can,
Marcia Griffiths,
Don Cherry,
The Stooges,
Magma,
Underground Resistance,
Sixth Finger,
Motorama,
The Mummies,
Monks,
Skriet,
Pharoah Sanders,
Josef K,
A Certain Ratio,
Boredoms,
Max Romeo,
Gerry Rafferty,
Jeff Lynne,
Talk Talk,
Zapp,
Depeche Mode,
The Tremeloes,
Matthew Bourne,
Unrelated Segments,
Louis and Bebe Barron,
DNA,
Adolescents,
The Dave Clark Five,
Con Funk Shun,
Index,
Joe Smooth,
Urselle,
Carl Craig,
Goldenarms,
Schoolly D,
Hoover,
Main Source,
Letta Mbulu,
The Human League,
Fort Wilson Riot,
Grandmaster Flash,
Jandek,
Jacob Miller,
The United States of America,
Mark Hollis,
Visionaries,LMNO, T- Love & Iriscience,
Peter and Kerry,
China Crisis,
Lebanon Hanover,
Scientists,
the Bar-Kays,
Dorothy Ashby,
Drive Like Jehu,
Saccharine Trust,
The Martian,
The Toasters, The Toasters, The Toasters, The Toasters.
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.