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 Belize and from Winnipeg.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Columbus and Halifax.
I'm losing my edge to the art-school Copenhagen 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the chamberlin sounds with much patience.
I was there when Michael McDonald 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 Velvet Underground to the rap 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 Alison Limerick. All the underground hits.
All Inner City tracks. I heard you have a vinyl of every Khruangbin record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a theremin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Warren Ellis record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camron Feat. Jay Z And Juelz,
Sun Ra Arkestra,
Gang Gang Dance,
Vladislav Delay,
Kurtis Blow,
Buzzcocks,
The Red Krayola,
The Remains,
Dead Boys,
Ken Boothe,
Lightning Bolt,
The Sonics,
Reagan Youth,
Todd Rundgren,
Negative Approach,
Glenn Branca,
The Fortunes,
Matthew Bourne,
Rites of Spring,
De La Soul & Jungle Brothers,
Pharaoh Sanders and the Fire Engines,
ABC,
The Mojo Men,
The Blues Magoos,
Heaven 17,
Chrome,
Masters at Work,
It's A Beautiful Day,
Adolescents,
Terry Callier,
Goldenarms,
Kings Of Tomorrow,
Quando Quango,
Roxy Music,
Brothers Johnson,
kango's stein massive,
Lyres,
Wings,
Lee Hazlewood,
Kenny Larkin,
Brand Nubian,
Country Joe & The Fish,
Main Source,
Teenage Jesus and the Jerks,
Al Stewart,
Index,
Andrew Hill,
Faraquet,
Eurythmics,
The West Coast Pop Art Experimental Band,
Gabor Szabo,
Mary Jane Girls,
The Names,
X-Ray Spex,
Stiv Bators,
T. Rex,
Magma,
Country Teasers,
EPMD,
Gastr Del Sol,
The Zeros,
Stockholm Monsters,
Rufus Thomas, Rufus Thomas, Rufus Thomas, Rufus Thomas.
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.