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 Rwanda and from Salvador.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Glasgow and Bremen.
I'm losing my edge to the art-school Tehran 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 Human League practice in a loft in Sheffield.
I was working on the mellotron 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 Stiv Bators to the jazz kids.
I played it at the Astoria.
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 Grey Daturas. All the underground hits.
All Flamin' Groovies tracks. I heard you have a vinyl of every Letta Mbulu 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 '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Crash Course in Science record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Index,
The West Coast Pop Art Experimental Band,
EPMD,
Peter & Gordon,
David McCallum,
Ultra Naté,
Scion,
Faraquet,
Talk Talk,
Kango’s Stein Massive,
Magazine,
Oppenheimer Analysis,
Panda Bear,
Warren Ellis,
Procol Harum,
The Divine Comedy,
Rhythm & Sound,
Archie Shepp,
Clear Light,
John Coltrane,
The Move,
The Offenders,
Bobby Hutcherson,
Larry & the Blue Notes,
Crooked Eye,
The Royal Family And The Poor,
T. Rex,
T.S.O.L.,
Marmalade,
Vainqueur,
8 Eyed Spy,
The Grass Roots,
Drive Like Jehu,
Ash Ra Tempel,
Eli Mardock,
The Evens,
Gastr Del Sol,
Fifty Foot Hose,
Siglo XX,
Urselle,
Jandek,
Babytalk,
Jawbox,
Black Bananas,
Shoche,
Marvin Gaye,
Roxy Music,
The Gun Club,
Black Flag,
Can,
Tears for Fears,
Dark Day,
The Star Department,
Andrew Hill,
Jacques Brel,
Swans,
Althea and Donna,
Lebanon Hanover, Lebanon Hanover, Lebanon Hanover, Lebanon Hanover.
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.