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 El Salvador and from Johannesburg.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Spokane and Sao Paulo.
I'm losing my edge to the art-school Copenhagen 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the linndrum sounds with much patience.
I was there when Tom Verlaine 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 Country Joe & The Fish to the rap kids.
I played it at Trash.
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 Bauhaus. All the underground hits.
All Quando Quango tracks. I heard you have a vinyl of every a-ha record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Connie Case record.
I hear that you and your band have sold your güiro and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Albert Ayler,
Little Man,
Sound Behaviour,
Model 500,
Gil Scott-Heron & Brian Jackson,
DJ Style,
The Fugs,
The Gladiators,
James Chance & The Contortions,
Notorious Big And Bone Thugs,
Oblivians,
Juan Atkins,
Rekid,
Sight & Sound,
Laurel Aitken,
Boogie Down Productions,
Derrick May,
Gabor Szabo,
Buzzcocks,
Das Ding,
Yaz,
Bronski Beat,
The West Coast Pop Art Experimental Band,
Cecil Taylor,
Crispy Ambulance,
Nico,
Manfred Mann's Earth Band,
Andrew Ashong & Theo Parrish,
New York Dolls,
Roxette,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
June Days,
Kas Product,
Main Source,
Man Eating Sloth,
Kool Moe Dee,
Funky Four + One,
Radiopuhelimet,
Jesper Dahlback,
Pharaoh Sanders and the Fire Engines,
A Certain Ratio,
The Remains,
One Last Wish,
Sexual Harrassment,
Kayak,
The New Christs,
Whodini,
Marine Girls,
the Sonics,
Kurtis Blow,
Sam Rivers,
Lonnie Liston Smith,
Howard Jones,
Davy DMX,
Jandek,
Pharoah Sanders,
Ultravox,
Second Layer,
Captain Beefheart & His Magic Band,
Crime,
X-102, X-102, X-102, X-102.
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.