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 Albania and from Delhi.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Lille and Bremen.
I'm losing my edge to the art-school Philadelphia 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the spring reverb sounds with much patience.
I was there when Robert Palmer 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 Average White Band to the dance kids.
I played it at the Crocodile.
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 Alice Coltrane. All the underground hits.
All Fat Boys tracks. I heard you have a vinyl of every Au Pairs record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Faraquet record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Slits,
Intrusion,
The Grass Roots,
Chrome,
Los Fastidios,
Ash Ra Tempel,
Can,
Crooked Eye,
John Lydon,
Brass Construction,
Curtis Mayfield,
Television Personalities,
Kurtis Blow,
The Chocolate Watch Band,
H. Thieme,
Ultramagnetic MC's,
Jerry's Kids,
Swell Maps,
MDC,
PIL,
Notorious BIG live in Amsterdam,
Delta 5,
Livin' Joy,
Bauhaus,
Mars,
Sexual Harrassment,
Henry Cow,
Barry Ungar,
K-Klass,
Porter Ricks,
Roy Ayers Ubiquity,
The Durutti Column,
Underground Resistance,
Gabor Szabo,
Gang Gang Dance,
The Saints,
Bobbi Humphrey,
The Blackbyrds,
Mad Mike,
The Dead C,
One Last Wish,
Sparks,
The Pretty Things,
Throbbing Gristle,
Swans,
Black Pus,
Godley & Creme,
Andrew Ashong & Theo Parrish,
Michelle Simonal,
Outsiders,
Niagra,
the Sonics,
Country Joe & The Fish,
Dennis Brown,
Albert Ayler,
Deutsch Amerikanische Freundschaft,
Iggy Pop,
Brand Nubian,
Al Stewart,
Jawbox,
Dorothy Ashby,
The Electric Prunes,
Roxette,
The Gories,
Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth.
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.