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 Eritrea and from Tehran.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Lagos and Manchester.
I'm losing my edge to the art-school Accra 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 arpeggiator 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 Hashim to the electroclash kids.
I played it at the Troubador.
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 KRS-One. All the underground hits.
All 10cc tracks. I heard you have a vinyl of every Pierre Henry 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 '90s.
I hear you're buying a rhodes and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Boogie Down Productions record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Circle Jerks,
Fugazi,
Rapeman,
Minor Threat,
Lafayette Afro Rock Band,
The Shadows of Knight,
Man Parrish,
Electric Light Orchestra,
Ultramagnetic MC's,
The Jesus and Mary Chain,
Johnny Osbourne,
Crash Course in Science,
Brass Construction,
Cecil Taylor,
Matthew Halsall,
Symarip,
Bauhaus,
Soulsonic Force,
Nas,
Nation of Ulysses,
Derrick May,
A Certain Ratio,
Andrew Ashong & Theo Parrish,
The American Breed,
Throbbing Gristle,
Captain Beefheart & His Magic Band,
Kaleidoscope,
The Neon Judgement,
Public Image Ltd.,
Excepter,
Funkadelic,
Dr. Dre and Snoop Doggy Dog,
Lower 48,
Ash Ra Tempel,
Harpers Bizarre,
Josef K,
Eddi Front,
The Dirtbombs,
The Standells,
Ossler,
Tim Buckley,
Neu!,
The West Coast Pop Art Experimental Band,
Gil Scott-Heron and Jamie xx,
Soft Cell,
Country Teasers,
The Blues Magoos,
The Fuzztones,
Kauko Röyhkä ja Narttu,
Con Funk Shun,
Chris Corsano,
Hardrive,
Wighnomy Brothers & Robag Wruhme,
Dave Gahan,
Essential Logic,
The Black Dice,
Bad Manners,
Bronski Beat,
Manfred Mann's Earth Band,
New Age Steppers,
Fad Gadget,
Stockholm Monsters, Stockholm Monsters, Stockholm Monsters, Stockholm Monsters.
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.