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 South Sudan and from Edmonton.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Bremen and Lagos.
I'm losing my edge to the art-school Lyon 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 sitar sounds with much patience.
I was there when Lou Reed 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 Idris Muhammad to the grime kids.
I played it at the 40 Watt.
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 Visage. All the underground hits.
All Ralphi Rosario tracks. I heard you have a vinyl of every Kaleidoscope record on German import.
I heard that you have a white label of every seminal rock 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 a theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Bill Wells record.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tim Buckley,
Avey Tare & Kría Brekkan,
Rowland S Howard / Lydia Lunch,
Smog,
The Move,
Mr. Review,
Piero Umiliani,
B.T. Express,
Jawbox,
The Zeros,
the Slits,
Boredoms,
Dead Boys,
Barry Ungar,
The Seeds,
The Mummies,
Shuggie Otis,
Jerry's Kids,
Lou Reed,
Aswad,
Khruangbin,
Pylon,
Andrew Ashong & Theo Parrish,
Desert Stars,
Kurtis Blow,
The Angels of Light,
Roger Hodgson,
Marshall Jefferson,
Traffic Nightmare,
The Birthday Party,
New York Dolls,
Charles Mingus,
Art Ensemble Of Chicago,
Japan,
Monks,
Byron Stingily,
Dave Gahan,
Fatback Band,
Pole,
Visage,
Eurythmics,
Derrick Morgan,
Teenage Jesus and the Jerks,
The Busters,
Althea and Donna,
Amon Düül II,
Bootsy's Rubber Band,
Arcadia,
Sonny Sharrock,
Lebanon Hanover,
Theoretical Girls,
Jesper Dahlback,
Sällskapet,
Pagans,
Lungfish,
The Raincoats,
Rosa Yemen,
Donald Byrd,
Matthew Bourne,
Judy Mowatt,
ABC,
Mark Hollis,
Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe.
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.