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 Vietnam and from Lille.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Beijing and Toronto.
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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the theremin 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 Connie Case to the electroclash 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 Thee Headcoats. All the underground hits.
All the Swans tracks. I heard you have a vinyl of every Theoretical Girls record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Spandau Ballet record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Offenders,
A Flock of Seagulls,
Gian Franco Pienzio,
Sarah Menescal,
UT,
De La Soul & Jungle Brothers,
Bad Manners,
Captain Beefheart & His Magic Band,
Graham Central Station,
the Slits,
Avey Tare,
Reuben Wilson,
Derrick Morgan,
Nik Kershaw,
Minny Pops,
Urselle,
Delta 5,
Accadde A,
Radio Birdman,
Kango’s Stein Massive,
The Music Machine,
Rosa Yemen,
Terror Squad Feat. Camron,
Unrelated Segments,
Arthur Verocai,
Public Enemy,
U.S. Maple,
Zero Boys,
Fatback Band,
The Standells,
K-Klass,
Siglo XX,
Traffic Nightmare,
John Holt,
Roger Hodgson,
Dual Sessions,
The Gap Band,
The Monks,
The Electric Prunes,
Lightning Bolt,
Moby Grape,
Quando Quango,
LL Cool J,
Wire,
Gang Gang Dance,
Freddie Wadling,
the Human League,
Soul Sonic Force,
Beasts of Bourbon,
Quantec,
Subhumans,
Suburban Knight,
Orchestral Manoeuvres in the Dark,
Oppenheimer Analysis,
Deepchord,
Chris Corsano,
Harpers Bizarre,
Glenn Branca,
Rahsaan Roland Kirk,
Interpol,
The Move,
Crooked Eye,
Rufus Thomas, Rufus Thomas, Rufus Thomas, Rufus Thomas.
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.