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 Africa and from Mexico City.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Shanghai and Columbus.
I'm losing my edge to the art-school Lille 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 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 Siglo XX to the electroclash kids.
I played it at the Troubador.
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 Crime. All the underground hits.
All The Young Rascals tracks. I heard you have a vinyl of every Rahsaan Roland Kirk 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 '60s cut and another box set from the '70s.
I hear you're buying a snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Ludus record.
I hear that you and your band have sold your theremin and bought a marimba.
I hear that you and your band have sold your marimba and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Move,
Eve St. Jones,
Scratch Acid,
Captain Beefheart & His Magic Band,
Marmalade,
Toni Rubio,
Skarface,
Lou Christie,
Television,
Notorious BIG live in Amsterdam,
Japan,
Lower 48,
Art Ensemble Of Chicago,
Cybotron,
Reuben Wilson,
In Retrospect,
Crash Course in Science,
Scan 7,
Organ,
The Pop Group,
Quadrant,
Graham Central Station,
Heavy D & The Boyz,
Radiohead,
Sixth Finger,
Khruangbin,
Eric B and Rakim,
The Smiths,
Tears for Fears,
Connie Case,
Zero Boys,
The Fall,
Youth Brigade,
Notorious Big And Bone Thugs,
Ituana,
Sun City Girls,
Pylon,
Super Lover Cee & Casanova Rud,
The Smoke,
L. Decosne,
Gil Scott-Heron and Jamie xx,
Sexual Harrassment,
Louis and Bebe Barron,
Andrew Ashong & Theo Parrish,
John Holt,
Matthew Halsall,
Metal Thangz,
Terrestrial Tones,
Roy Ayers Ubiquity,
Joyce Sims,
Unwound,
Manfred Mann's Earth Band,
Archie Shepp,
Royal Trux,
Pharoah Sanders,
Larry & the Blue Notes,
Mo-Dettes,
David Bowie,
Anthony Braxton,
Con Funk Shun,
D'Angelo,
Lucky Dragons,
Bootsy Collins, Bootsy Collins, Bootsy Collins, Bootsy Collins.
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.