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 Venezuela and from Lille.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Halifax and Accra.
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 Selda practice in a loft in Istanbul.
I was working on the snare 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 Joey Negro to the punk kids.
I played it at CBGB's.
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 Black Pus. All the underground hits.
All Byron Stingily tracks. I heard you have a vinyl of every Black Sheep record on German import.
I heard that you have a white label of every seminal crunk 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 chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Osbourne record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gastr Del Sol,
David Axelrod,
the Bar-Kays,
Eyeless In Gaza,
the Fania All-Stars,
The Slackers,
The Offenders,
Sixth Finger,
Peter Gordon & Love of Life Orchestra,
Guru Guru,
Connie Case,
8 Eyed Spy,
Gil Scott Heron,
MDC,
Joe Finger,
Kevin Saunderson,
Unwound,
Darondo,
Rhythim Is Rhythim,
In Retrospect,
The Fall,
Interpol,
Saccharine Trust,
Juan Atkins,
Minnie Riperton,
Marc Almond,
Pantytec,
The Fugs,
Bobbi Humphrey,
Oblivians,
Thee Headcoats,
Scrapy,
Oneida,
Aaron Thompson,
Scratch Acid,
Hoover,
Dennis Brown,
Surgeon,
Lou Reed,
Moby Grape,
Tommy Roe,
Soul Sonic Force,
Quando Quango,
The Dave Clark Five,
Bizarre Inc.,
Iggy Pop,
The Blackbyrds,
Trumans Water,
The Leaves,
Little Man,
Johnny Osbourne,
Loose Ends,
Ossler,
The Searchers,
Curtis Mayfield,
Sun Ra,
The Seeds,
Model 500,
Gang Green,
Liaisons Dangereuses,
Junior Murvin,
Big Daddy Kane, Big Daddy Kane, Big Daddy Kane, Big Daddy Kane.
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.