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 Taiwan and from Salvador.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Mumbai and Copenhagen.
I'm losing my edge to the art-school Columbus 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the sitar sounds with much patience.
I was there when Holger Czukay 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 Joe Smooth to the punk 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 The Slits. All the underground hits.
All The Index tracks. I heard you have a vinyl of every Severed Heads record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an organ and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The United States of America record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stereo Dub,
Tubeway Army,
Colin Newman,
Easy Going,
Girls At Our Best!,
Althea and Donna,
Bush Tetras,
The Knickerbockers,
Spandau Ballet,
Godley & Creme,
Pulsallama,
Larry & the Blue Notes,
Erykah Badu,
Brass Construction,
Slick Rick,
Nick Cave & The Bad Seeds,
K-Klass,
Ludus,
Dual Sessions,
The Names,
Vaughan Mason & Crew,
the Germs,
U.S. Maple,
Tomorrow,
Rotary Connection,
Grandmaster Flash and the Furious Five,
The Cowsills,
Terror Squad Feat. Camron,
Adolescents,
Deutsch Amerikanische Freundschaft,
Kas Product,
Depeche Mode,
Tropical Tobacco,
48th St. Collective,
Kango’s Stein Massive,
Roxy Music,
E-Dancer,
Susan Cadogan,
Blake Baxter,
Fad Gadget,
Boredoms,
Scan 7,
Ohio Players,
Toni Rubio,
Matthew Bourne,
Oppenheimer Analysis,
Lonnie Liston Smith,
Tears for Fears,
Kenny Larkin,
Joey Negro,
Aswad,
Roxette,
the Bar-Kays,
The Misunderstood,
X-102,
Sugar Minott,
Masters at Work,
Robert Hood,
Neil Young,
Electric Light Orchestra,
Stetsasonic,
The Music Machine, The Music Machine, The Music Machine, The Music Machine.
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.