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 Panama and from Bologna.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Houston and Beijing.
I'm losing my edge to the art-school Bologna 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the arpeggiator 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 Tim Buckley to the crunk 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 Main Source. All the underground hits.
All Chris Corsano tracks. I heard you have a vinyl of every Davy DMX record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The West Coast Pop Art Experimental Band record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ronan,
Lower 48,
Reuben Wilson,
Agitation Free,
Jesper Dahlbäck,
Albert Ayler,
Anakelly,
Orchestral Manoeuvres in the Dark,
Lebanon Hanover,
Aural Exciters,
U.S. Maple,
Severed Heads,
MDC,
Qualms,
Los Fastidios,
Camouflage,
Deutsch Amerikanische Freundschaft,
Bang On A Can,
The Martian,
Hoover,
The Flesh Eaters,
Minnie Riperton,
the Bar-Kays,
The Leaves,
The Remains,
It's A Beautiful Day,
The American Breed,
Boredoms,
Jacques Brel,
Niagra,
Pussy Galore,
Black Pus,
Ultra Naté,
R.M.O.,
Robert Görl,
John Lydon,
Unrelated Segments,
Theoretical Girls,
The Buckinghams,
Brothers Johnson,
Deadbeat,
Lyres,
Boz Scaggs,
Anthony Braxton,
Rowland S Howard / Lydia Lunch,
Pole,
Barry Ungar,
Tim Buckley,
Eric B and Rakim,
Pylon,
The Move,
Rapeman,
Grauzone,
Sun City Girls,
F. McDonald,
Vladislav Delay,
Röyhkä ja Rättö ja Lehtisalo,
LL Cool J,
Wasted Youth,
Lou Reed & Metallica, Lou Reed & Metallica, Lou Reed & Metallica, Lou Reed & Metallica.
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.