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 Bulgaria and from Portland.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Bremen and Salvador.
I'm losing my edge to the art-school Stockholm 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Liliput to the disco 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 Major Organ And The Adding Machine. All the underground hits.
All Gil Scott Heron tracks. I heard you have a vinyl of every Leonard Cohen record on German import.
I heard that you have a white label of every seminal rap 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 808 and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a R.M.O. record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sällskapet,
Banda Bassotti,
Swell Maps,
Mr. Review,
A Flock of Seagulls,
Andrew Ashong & Theo Parrish,
The Trojans,
Fort Wilson Riot,
The Happenings,
The Smoke,
The Gap Band,
The Dave Clark Five,
Black Pus,
Chrome,
Electric Prunes,
Pantaleimon,
The Names,
Swans,
Rhythm & Sound,
Barbara Tucker,
June Days,
Wasted Youth,
Wire,
Gichy Dan,
Country Teasers,
Oppenheimer Analysis,
Lucky Dragons,
Silicon Teens,
Underground Resistance,
Notorious Big And Bone Thugs,
Blossom Toes,
Skarface,
Cameo,
Robert Görl,
The Victims,
June of 44,
Echo & the Bunnymen,
Lyres,
Buzzcocks,
Agitation Free,
Gerry Rafferty,
Eve St. Jones,
The Beau Brummels,
The Velvet Underground,
The Doobie Brothers,
Tim Buckley,
A Certain Ratio,
Jeff Mills,
Kurtis Blow,
Skaos,
Anthony Braxton,
Gil Scott Heron,
John Foxx,
Lindisfarne,
Black Sheep,
Hoover,
Ituana,
The Fuzztones,
Andrew Hill,
Pharaoh Sanders and the Fire Engines,
Jeru the Damaja,
The Invisible,
David Axelrod,
Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx.
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.