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 Guyana and from Madrid.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Hong Kong and Manchester.
I'm losing my edge to the art-school Philadelphia 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 spring reverb 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 Stockholm Monsters to the electroclash 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 Mary Jane Girls. All the underground hits.
All Moby Grape tracks. I heard you have a vinyl of every Sex Pistols record on German import.
I heard that you have a white label of every seminal funk 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 spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Dual Sessions record.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stetsasonic,
Albert Ayler,
Man Eating Sloth,
The Doors,
The Saints,
Graham Central Station,
PIL,
Bluetip,
New York Dolls,
The Martian,
48th St. Collective,
Oblivians,
Ice-T,
the Fania All-Stars,
The Offenders,
Marvin Gaye,
Royal Trux,
10cc,
Thinking Fellers Union Local 282,
the Swans,
Rhythm & Sound,
Fort Wilson Riot,
Colin Newman,
Todd Rundgren,
Niagra,
EPMD,
Crooked Eye,
The Index,
Morten Harket,
Ronnie Foster,
Ash Ra Tempel,
Bootsy's Rubber Band,
Bronski Beat,
Joe Finger,
Rapeman,
It's A Beautiful Day,
Rhythim Is Rhythim,
Ultimate Spinach,
The Flesh Eaters,
Au Pairs,
Inner City,
Ossler,
Brass Construction,
Metal Thangz,
The Monks,
Bizarre Inc.,
Cabaret Voltaire,
Prince Buster,
Jacob Miller,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Roy Ayers,
Interpol,
Nas,
The Men They Couldn't Hang,
The Neon Judgement,
Mars,
Technova,
The Music Machine,
Arab on Radar,
FM Einheit,
Vladislav Delay,
Josef K,
Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra.
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.