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 Fiji and from Glasgow.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Jakarta and Mexico City.
I'm losing my edge to the art-school Woodstock 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 linndrum 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 Sonny Sharrock to the dance 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 Gang Green. All the underground hits.
All Arcadia tracks. I heard you have a vinyl of every Inner City record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Loose Ends record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Angels of Light & Akron/Family,
The Moody Blues,
Andrew Ashong & Theo Parrish,
Monks,
The Vogues,
The Pop Group,
Oneida,
Rekid,
Kayak,
Black Pus,
Donald Byrd,
Shuggie Otis,
E-Dancer,
Dark Day,
Khruangbin,
The Gories,
The Black Dice,
New Age Steppers,
Oppenheimer Analysis,
Tom Boy,
Sixth Finger,
Juan Atkins,
Theoretical Girls,
Procol Harum,
The Music Machine,
Judy Mowatt,
Q and Not U,
Bill Wells,
Eyeless In Gaza,
Anthony Braxton,
The Last Poets,
Los Fastidios,
Camron Feat. Jay Z And Juelz,
Lizzy Mercier Descloux,
The Victims,
Harry Pussy,
The Martian,
Malaria!,
Notorious BIG live in Amsterdam,
The Residents,
Scrapy,
Bauhaus,
The Leaves,
The Electric Prunes,
Ajijia Myrayebe,
Crooked Eye,
Rapeman,
Sonny Sharrock,
Steve Hackett,
48th St. Collective,
Rites of Spring,
Brothers Johnson,
Deakin,
Brand Nubian,
D'Angelo,
Danielle Patucci,
Sonic Youth,
Hasil Adkins,
Stiv Bators,
The Fire Engines,
Masters at Work,
Gang of Four, Gang of Four, Gang of Four, Gang of Four.
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.