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 Dominican Republic and from Portland.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Lille and Columbus.
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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the 808 sounds with much patience.
I was there when Donald Fagen 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 The Gun Club to the jazz 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 Nick Fraelich. All the underground hits.
All Sonic Youth tracks. I heard you have a vinyl of every The Names 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 '80s.
I hear you're buying a spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a the Bar-Kays 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?
Newcleus,
The Wake,
B.T. Express,
Duran Duran,
Big Daddy Kane,
Prince Buster,
JFA,
Steve Hackett,
Monolake,
Moebius,
Underground Resistance,
EPMD,
Jerry Gold Smith,
The Happenings,
Barry Ungar,
June of 44,
R.M.O.,
L. Decosne,
Bobby Womack,
Essential Logic,
Mission of Burma,
Eve St. Jones,
MC5,
Angels of Light & Akron/Family,
Curtis Mayfield,
Jerry's Kids,
The Sound,
Khruangbin,
Porter Ricks,
the Human League,
Television Personalities,
Piero Umiliani,
Magma,
X-Ray Spex,
PIL,
Liliput,
Soft Cell,
Rahsaan Roland Kirk,
Stereo Dub,
Neil Young,
Terry Callier,
Robert Hood,
Popol Vuh,
Josef K,
U.S. Maple,
Amon Düül II,
Grey Daturas,
Ronan,
the Bar-Kays,
Tres Demented,
Cymande,
Michelle Simonal,
the Slits,
Parry Music,
The Sisters of Mercy,
Anakelly,
Gregory Isaacs,
Arcadia,
Gang of Four,
Swans, Swans, Swans, Swans.
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.