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 Fiji and from Mumbai.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Jakarta and Stockholm.
I'm losing my edge to the art-school London 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 Feelies practice in a loft in Haledon.
I was working on the synthesizer 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 Japan to the punk 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 Bluetip. All the underground hits.
All Television Personalities tracks. I heard you have a vinyl of every Oppenheimer Analysis record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a snare and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Stockholm Monsters record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Little Man,
Smog,
L. Decosne,
Jacques Brel,
DNA,
Manfred Mann's Earth Band,
JFA,
Radio Birdman,
Essential Logic,
Circle Jerks,
Animal Collective,
Hoover,
The Standells,
Skaos,
The Five Americans,
Mission of Burma,
R.M.O.,
Louis and Bebe Barron,
Pierre Henry,
Ajijia Myrayebe,
Albert Ayler,
The Mojo Men,
Agitation Free,
Suicide,
Rufus Thomas,
Boogie Down Productions,
Stockholm Monsters,
The Divine Comedy,
The Dave Clark Five,
Qualms,
H. Thieme,
The Move,
Yellowson,
The Mighty Diamonds,
Rhythim Is Rhythim,
The Grass Roots,
Oppenheimer Analysis,
Model 500,
Arthur Verocai,
Vainqueur,
David Axelrod,
The Smoke,
Pulsallama,
The Residents,
Ralphi Rosario,
Nik Kershaw,
John Foxx,
Pylon,
Flamin' Groovies,
Country Joe & The Fish,
Heavy D & The Boyz,
Tom Boy,
Scientists,
Lyres,
The Tremeloes,
Roy Ayers Ubiquity,
LL Cool J,
Delon & Dalcan,
The West Coast Pop Art Experimental Band,
Janne Schatter,
The Gun Club,
Man Eating Sloth, Man Eating Sloth, Man Eating Sloth, Man Eating Sloth.
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.