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 Uganda and from Taipei.
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 1975.
I'm losing my edge.
To all the kids in London and Tehran.
I'm losing my edge to the art-school Johannesburg 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 Mistral practice in a loft in Amsterdam.
I was working on the linndrum 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 Deadbeat to the crunk 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 The Wake. All the underground hits.
All Donald Byrd tracks. I heard you have a vinyl of every Dr. Dre and Snoop Doggy Dog 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 '80s.
I hear you're buying a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Brand Nubian record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sound Behaviour,
Sunsets and Hearts,
Kerrie Biddell,
Larry & the Blue Notes,
Dual Sessions,
48th St. Collective,
Kenny Larkin,
Jawbox,
Magazine,
The Pop Group,
Gian Franco Pienzio,
The Dead C,
Chris Corsano,
Oppenheimer Analysis,
Jesper Dahlback,
Minutemen,
Boogie Down Productions,
Inner City,
Tears for Fears,
Kool G Rap & DJ Polo,
Alice Coltrane,
Mission of Burma,
Bang on a Can All-Stars,
Yaz,
Pylon,
Lakeside,
The Remains,
cv313,
The Fuzztones,
Sexual Harrassment,
The Royal Family And The Poor,
Unwound,
Soulsonic Force,
Soft Machine,
Ronnie Foster,
Nation of Ulysses,
The Sonics,
Kaleidoscope,
Amon Düül II,
Boz Scaggs,
Main Source,
Eric B and Rakim,
Crooked Eye,
Black Flag,
Howard Jones,
Niagra,
E-Dancer,
Alison Limerick,
Flash Fearless,
Lyres,
Electric Prunes,
The Cramps,
Roxy Music,
The Smoke,
Crispian St. Peters,
Camberwell Now,
Ultra Naté,
Deadbeat,
Black Bananas,
Au Pairs,
The Buckinghams,
The Count Five,
Neil Young,
Kevin Saunderson, Kevin Saunderson, Kevin Saunderson, Kevin Saunderson.
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.