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 Antigua and from Stockholm.
But I was there.
I was there in 1973.
I was there at the first Television 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 1967 to 1974.
I'm losing my edge.
To all the kids in Delhi and Mexico City.
I'm losing my edge to the art-school Jakarta 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 mellotron 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 Brothers Johnson 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 Electric Light Orchestra. All the underground hits.
All Soft Machine tracks. I heard you have a vinyl of every The Index record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Byron Stingily record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Bar-Kays,
Pulsallama,
Fatback Band,
Make Up,
Funky Four + One,
Steve Hackett,
Yellowson,
The Alarm Clocks,
Eli Mardock,
Clear Light,
Brand Nubian,
Deepchord,
Kauko Röyhkä ja Narttu,
Animal Collective,
Sunsets and Hearts,
Liaisons Dangereuses,
Art Ensemble Of Chicago,
Nils Olav,
Bootsy's Rubber Band,
The Peanut Butter Conspiracy,
The Cure,
Leonard Cohen,
PIL,
KRS-One,
Severed Heads,
Porter Ricks,
Q65,
Todd Terry,
The Music Machine,
Gang Starr,
Man Eating Sloth,
Toni Rubio,
Lyres,
Marshall Jefferson,
The Sonics,
Erykah Badu,
Bobby Womack,
Essential Logic,
Avey Tare & Kría Brekkan,
The Fugs,
Talk Talk,
Jawbox,
Wighnomy Brothers & Robag Wruhme,
Rhythim Is Rhythim,
The Dirtbombs,
Gian Franco Pienzio,
The Blues Magoos,
F. McDonald,
Richard Hell and the Voidoids,
Roxy Music,
Liliput,
Kool G Rap & DJ Polo,
The Velvet Underground,
Simply Red,
Brothers Johnson,
Scrapy,
Idris Muhammad,
Depeche Mode,
The Fuzztones,
Whodini,
The United States of America,
Funkadelic, Funkadelic, Funkadelic, Funkadelic.
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.