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 Switzerland and from Columbus.
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 1972.
I'm losing my edge.
To all the kids in Stockholm and Johannesburg.
I'm losing my edge to the art-school Bologna 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 Buzzcocks practice in a loft in Bolton.
I was working on the marimba 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 Roxette to the grunge kids.
I played it at the Hacienda.
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 Scratch Acid. All the underground hits.
All Frankie Knuckles tracks. I heard you have a vinyl of every Althea and Donna 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 '60s cut and another box set from the '80s.
I hear you're buying a marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a 48th St. Collective record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oppenheimer Analysis,
Louis and Bebe Barron,
Yellowson,
The Chocolate Watch Band,
Lakeside,
Black Bananas,
Barry Ungar,
Sister Nancy,
Connie Case,
Ajijia Myrayebe,
Banda Bassotti,
Minutemen,
Hoover,
Excepter,
Throbbing Gristle,
Bad Manners,
Minnie Riperton,
Eyeless In Gaza,
The Buckinghams,
Jimmy McGriff,
Strawberry Alarm Clock,
Con Funk Shun,
John Foxx,
Soft Cell,
X-101,
Gang Starr,
Funkadelic,
Neil Young & Crazy Horse,
Nick Fraelich,
the Normal,
Brick,
Ornette Coleman,
Deutsch Amerikanische Freundschaft,
Sonny Sharrock,
Bobbi Humphrey,
Drexciya,
Fad Gadget,
Siouxsie and the Banshees,
The Dead C,
Skriet,
Radiopuhelimet,
Drive Like Jehu,
Dark Day,
Bang on a Can All-Stars,
Eric Dolphy,
Moby Grape,
The Angels of Light,
Skarface,
Todd Terry,
Basic Channel,
Rakim,
Cecil Taylor,
Harry Pussy,
Magma,
The Fall,
Mary Jane Girls,
Derrick Morgan,
Sun Ra Arkestra,
Nik Kershaw,
Massinfluence,
Teenage Jesus and the Jerks,
Fatback Band,
the Bar-Kays, the Bar-Kays, the Bar-Kays, the Bar-Kays.
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.