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 Tokyo.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Bologna and New York.
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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the arpeggiator 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 Robert Wyatt to the techno kids.
I played it at Trash.
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 Joe Smooth. All the underground hits.
All Strawberry Alarm Clock tracks. I heard you have a vinyl of every Half Japanese record on German import.
I heard that you have a white label of every seminal grunge 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 a theremin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Vaughan Mason & Crew record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Delta 5,
Angels of Light & Akron/Family,
Spoonie Gee,
Faust,
Jacques Brel,
Blancmange,
Anthony Braxton,
Half Japanese,
Royal Trux,
Young Marble Giants,
Minny Pops,
D'Angelo,
Ponytail,
Sun City Girls,
Masters at Work,
Malaria!,
Ituana,
Crime,
the Fania All-Stars,
Hot Snakes,
Sixth Finger,
Japan,
Parry Music,
Graham Central Station,
CMW,
Marcia Griffiths,
Ralphi Rosario,
Mantronix,
Marc Romboy vs. Booka Shade,
The Sonics,
Beasts of Bourbon,
Donny Hathaway,
T.S.O.L.,
Bootsy's Rubber Band,
The Count Five,
the Bar-Kays,
Magma,
Joe Finger,
Pet Shop Boys,
Eric Dolphy,
Rufus Thomas,
The Beau Brummels,
Siouxsie and the Banshees,
Rhythm & Sound,
Soft Cell,
Bauhaus,
Richard Hell and the Voidoids,
Pierre Henry,
Howard Jones,
Liliput,
The Star Department,
Chris & Cosey,
Thompson Twins,
Kerrie Biddell,
Echo & the Bunnymen,
EPMD,
Bronski Beat,
The West Coast Pop Art Experimental Band,
Yellowson,
Basic Channel,
Bootsy Collins,
Arthur Verocai, Arthur Verocai, Arthur Verocai, Arthur Verocai.
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.