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 Nicaragua and from Mexico City.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Johannesburg and Lille.
I'm losing my edge to the art-school Hong Kong 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 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 Walker Brothers to the electroclash kids.
I played it at the Astoria.
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 Selecter. All the underground hits.
All Bobby Hutcherson tracks. I heard you have a vinyl of every Lou Reed & John Cale record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Cramps record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Music Machine,
Soulsonic Force,
Thinking Fellers Union Local 282,
Eve St. Jones,
Nation of Ulysses,
Kenny Larkin,
Livin' Joy,
Avey Tare & Kría Brekkan,
Bauhaus,
This Heat,
FM Einheit,
Zapp,
the Association,
Al Stewart,
Adolescents,
The Smiths,
Yaz,
Todd Terry,
Peter and Kerry,
Agent Orange,
Y Pants,
Ralphi Rosario,
Flash Fearless,
Audionom,
Prince Buster,
Bobby Womack,
Ultramagnetic MC's,
Pussy Galore,
Robert Hood,
Q and Not U,
Gabor Szabo,
Porter Ricks,
Orchestral Manoeuvres in the Dark,
Rahsaan Roland Kirk,
New Order,
Aural Exciters,
Strawberry Alarm Clock,
The Doors,
Jacques Brel,
Althea and Donna,
The New Christs,
Sexual Harrassment,
Gang Gang Dance,
Con Funk Shun,
Nick Cave & The Bad Seeds,
Captain Beefheart & His Magic Band,
Altered Images,
These Immortal Souls,
Black Sheep,
Jandek,
Charles Mingus,
Gregory Isaacs,
The Stooges,
China Crisis,
Easy Going,
The Electric Prunes,
Anthony Braxton,
Jesper Dahlbäck,
Infiniti,
Main Source,
8 Eyed Spy,
Max Romeo, Max Romeo, Max Romeo, Max Romeo.
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.