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 Lyon.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Portland and Bologna.
I'm losing my edge to the art-school Spokane 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 synthesizer 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 Dennis Brown to the funk kids.
I played it at the Spitz.
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 Bang on a Can All-Stars. All the underground hits.
All Mandrill tracks. I heard you have a vinyl of every Brass Construction record on German import.
I heard that you have a white label of every seminal electroclash 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 an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a London Community Gospel Choir record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crash Course in Science,
Tears for Fears,
Stockholm Monsters,
The Sonics,
The Cosmic Jokers,
Severed Heads,
The Associates,
The Misunderstood,
Soulsonic Force,
New York Dolls,
Rakim,
Slave,
Electric Prunes,
Animal Collective,
the Fania All-Stars,
Notorious BIG live in Amsterdam,
Don Cherry,
Sam Rivers,
Pierre Henry,
Stereo Dub,
The Durutti Column,
Ossler,
Vladislav Delay,
The American Breed,
AZ,
Sugar Minott,
Excepter,
The Young Rascals,
Funky Four + One,
The Human League,
Stetsasonic,
Black Pus,
Babytalk,
Patti Smith,
Organ,
Surgeon,
Bobby Hutcherson,
Lungfish,
Man Parrish,
Kenny Larkin,
Whodini,
Gichy Dan,
Freddie Wadling,
Johnny Clarke,
MDC,
Lower 48,
Rites of Spring,
Blancmange,
Liliput,
Blake Baxter,
Moebius,
Motorama,
Yazoo,
Sad Lovers and Giants,
Rhythim Is Rhythim,
Alison Limerick,
The Cure,
The Happenings,
Make Up,
Suburban Knight,
Gang Starr,
The Slits, The Slits, The Slits, The Slits.
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.