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 Azerbaijan and from Mumbai.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Madrid and London.
I'm losing my edge to the art-school Salvador 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 linndrum 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 Nick Fraelich to the electroclash 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 The Men They Couldn't Hang. All the underground hits.
All Deepchord tracks. I heard you have a vinyl of every Warsaw record on German import.
I heard that you have a white label of every seminal crunk 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 sitar and are throwing your macbook out the window because you want to make something real. You want to make a Interpol 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?
The Durutti Column,
David McCallum,
Justin Hinds & The Dominoes,
The Alarm Clocks,
Jeff Lynne,
Electric Prunes,
Gary Puckett & The Union Gap,
Tim Buckley,
Jacob Miller,
World's Most,
Fluxion,
Malaria!,
The Gun Club,
Mars,
Thinking Fellers Union Local 282,
Kurtis Blow,
Lyres,
Deadbeat,
Isaac Hayes,
Beasts of Bourbon,
Selector Dub Narcotic,
Model 500,
T.S.O.L.,
Sexual Harrassment,
Reagan Youth,
The Associates,
Sugar Minott,
Franke,
Inner City,
ABC,
Pete Rock & C.L. Smooth,
Cabaret Voltaire,
Lizzy Mercier Descloux,
Heavy D & The Boyz,
Au Pairs,
This Heat,
It's A Beautiful Day,
The Last Poets,
Rahsaan Roland Kirk,
Spandau Ballet,
Deepchord,
X-102,
Ken Boothe,
Marc Romboy vs. Booka Shade,
Eve St. Jones,
Duran Duran,
Loose Ends,
Major Organ And The Adding Machine,
Andrew Ashong & Theo Parrish,
One Last Wish,
the Sonics,
Magma,
Flamin' Groovies,
Funkadelic,
Bobby Byrd,
The Birthday Party,
The Cosmic Jokers,
Reuben Wilson,
Hoover,
Gregory Isaacs,
Man Parrish, Man Parrish, Man Parrish, Man Parrish.
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.