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 Equatorial Guinea and from Spokane.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Portland and Sao Paulo.
I'm losing my edge to the art-school Houston 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the marimba 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 Mo-Dettes to the jazz kids.
I played it at the Astoria.
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 Gil Scott Heron. All the underground hits.
All Aural Exciters tracks. I heard you have a vinyl of every Grandmaster Flash record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Halsall record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Busters,
Lou Reed & John Cale,
Loose Ends,
Cameo,
Heavy D & The Boyz,
Nick Cave & The Bad Seeds,
Jawbox,
Tommy Roe,
Grandmaster Flash,
Gil Scott Heron,
The Mojo Men,
Marc Almond,
Cymande,
Cheater Slicks,
Angry Samoans,
Peter and Kerry,
Scratch Acid,
Skaos,
Flipper,
Pussy Galore,
Youth Brigade,
Delon & Dalcan,
Rites of Spring,
Girls At Our Best!,
Skarface,
The Dave Clark Five,
Theoretical Girls,
Ralphi Rosario,
Black Sheep,
a-ha,
Subhumans,
The Alarm Clocks,
The Evens,
The Men They Couldn't Hang,
Richard Hell and the Voidoids,
UT,
Niagra,
Cybotron,
Angels of Light & Akron/Family,
The Divine Comedy,
Tres Demented,
Section 25,
Babytalk,
John Foxx,
Carl Craig,
X-102,
The Mighty Diamonds,
Suicide,
Slave,
Bobby Byrd,
Suburban Knight,
Avey Tare & Kría Brekkan,
Siglo XX,
Con Funk Shun,
Outsiders,
The United States of America,
Khruangbin,
Ponytail,
Sonic Youth,
Bob Dylan,
The Cure,
Graham Central Station,
Eli Mardock,
The Dirtbombs, The Dirtbombs, The Dirtbombs, The Dirtbombs.
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.