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 Ecuador and from Woodstock.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1975.
I'm losing my edge.
To all the kids in Columbus and Halifax.
I'm losing my edge to the art-school Seoul 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 oboe 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 Roy Ayers Ubiquity to the grime kids.
I played it at the Crocodile.
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 Moebius. All the underground hits.
All The Dead C tracks. I heard you have a vinyl of every OOIOO record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an organ and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a PIL record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Godley & Creme,
Alton Ellis,
Avey Tare,
Heavy D & The Boyz,
The Five Americans,
Panda Bear,
Rosa Yemen,
Chrome,
Parry Music,
Gerry Rafferty,
Jacob Miller,
Lower 48,
The Grass Roots,
Sonny Sharrock,
Blancmange,
The Real Kids,
Pussy Galore,
Kurtis Blow,
Sixth Finger,
The Fuzztones,
Bush Tetras,
Japan,
Matthew Bourne,
Kenny Larkin,
Sandy B,
Siouxsie and the Banshees,
Warsaw,
Chris & Cosey,
Moby Grape,
the Slits,
Angry Samoans,
Guru Guru,
World's Most,
Interpol,
The Vogues,
Q and Not U,
Shuggie Otis,
X-101,
Ken Boothe,
Pharaoh Sanders and the Fire Engines,
The American Breed,
The Shadows of Knight,
the Soft Cell,
Pete Rock & C.L. Smooth,
The Men They Couldn't Hang,
Minny Pops,
Scion,
Deutsch Amerikanische Freundschaft,
The Techniques,
Josef K,
Lou Reed,
Gang of Four,
Neu!,
Roxy Music,
Fugazi,
Boogie Down Productions,
Rod Modell,
Bill Near,
The Neon Judgement,
the Human League, the Human League, the Human League, the Human League.
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.