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 Panama and from Toronto.
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 1977.
I'm losing my edge.
To all the kids in Salvador and Winnipeg.
I'm losing my edge to the art-school Tehran 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 at the first Suicide practice in a loft in New York.
I was working on the synthesizer sounds with much patience.
I was there when Holger Czukay 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 Mary Jane Girls to the crunk 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 Idris Muhammad. All the underground hits.
All The Birthday Party tracks. I heard you have a vinyl of every Lou Reed & John Cale 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 rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Robert Wyatt record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobbi Humphrey,
Subhumans,
Bill Wells,
Lightning Bolt,
Magazine,
Kerrie Biddell,
Al Stewart,
Eric B and Rakim,
Lou Christie,
Arthur Verocai,
Robert Görl,
Lakeside,
The Velvet Underground,
Jacob Miller,
The Smoke,
Rahsaan Roland Kirk,
Royal Trux,
Jandek,
AZ,
Interpol,
Buzzcocks,
The Motions,
Pharoah Sanders,
Oblivians,
Eli Mardock,
Panda Bear,
Metal Thangz,
Tubeway Army,
Depeche Mode,
Wolf Eyes,
Traffic Nightmare,
Fort Wilson Riot,
Lou Reed,
The Cosmic Jokers,
The Sound,
Louis and Bebe Barron,
Sonny Sharrock,
Pussy Galore,
The Fire Engines,
Charles Mingus,
Lee Hazlewood,
Lucky Dragons,
Roy Ayers Ubiquity,
Aural Exciters,
Minutemen,
Flash Fearless,
Rhythim Is Rhythim,
Graham Central Station,
Siouxsie and the Banshees,
Saccharine Trust,
Country Teasers,
Matthew Halsall,
The Saints,
Smog,
Connie Case,
John Holt,
Accadde A,
Ajijia Myrayebe,
Babytalk,
Susan Cadogan,
The Associates,
Hashim,
Major Organ And The Adding Machine,
Pharaoh Sanders and the Fire Engines, Pharaoh Sanders and the Fire Engines, Pharaoh Sanders and the Fire Engines, Pharaoh Sanders and the Fire Engines.
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.