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 Japan and from Copenhagen.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1965 to 1970.
I'm losing my edge.
To all the kids in London and Halifax.
I'm losing my edge to the art-school Portland 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 snare 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 Jawbox to the disco 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 Glambeats Corp.. All the underground hits.
All Ultravox tracks. I heard you have a vinyl of every Stockholm Monsters record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Subhumans record.
I hear that you and your band have sold your rhodes and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oblivians,
Kayak,
Harpers Bizarre,
The Tremeloes,
Al Stewart,
Ken Boothe,
London Community Gospel Choir,
Mars,
Nirvana,
Kurtis Blow,
Simply Red,
Sun Ra,
The Toasters,
Kerri Chandler,
Matthew Bourne,
Carl Craig,
Animal Collective,
Sixth Finger,
Lou Reed & Metallica,
Tommy Roe,
Jeff Mills,
Soulsonic Force,
Rotary Connection,
Beasts of Bourbon,
Wire,
Newcleus,
The Mummies,
The Flesh Eaters,
Sugar Minott,
Zero Boys,
Monks,
Piero Umiliani,
Electric Light Orchestra,
Eli Mardock,
Basic Channel,
Agitation Free,
Lindisfarne,
Dave Gahan,
Thee Headcoats,
Trumans Water,
Orchestral Manoeuvres in the Dark,
Peter & Gordon,
The Residents,
Fela Kuti,
Dark Day,
Grandmaster Flash and the Furious Five,
Groovy Waters,
Oppenheimer Analysis,
Blancmange,
Nation of Ulysses,
Lungfish,
Barry Ungar,
Japan,
Major Organ And The Adding Machine,
Section 25,
Colin Newman,
Man Eating Sloth,
The Vogues,
The Mojo Men,
John Lydon,
Terrestrial Tones,
Sam Rivers, Sam Rivers, Sam Rivers, Sam Rivers.
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.