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 Oman and from Johannesburg.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1976.
I'm losing my edge.
To all the kids in Johannesburg and Manila.
I'm losing my edge to the art-school Manila 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 arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 Charles Mingus to the grunge 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 Metal Thangz. All the underground hits.
All Amon Düül II tracks. I heard you have a vinyl of every Sight & Sound 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 '80s.
I hear you're buying a snare and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Gang Green record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cameo,
Dead Boys,
Gil Scott-Heron and Jamie xx,
Kool G Rap & DJ Polo,
Funky Four + One,
The Dirtbombs,
The Seeds,
Monks,
Visage,
The Chocolate Watch Band,
Avey Tare & Kría Brekkan,
Hot Snakes,
Vaughan Mason & Crew,
Magazine,
Thee Headcoats,
Bobby Sherman,
Minutemen,
Little Man,
Chris Corsano,
the Soft Cell,
Porter Ricks,
Gerry Rafferty,
The Blackbyrds,
The Names,
The Alarm Clocks,
Harmonia,
Unrelated Segments,
DeepChord presents Echospace,
Ultra Naté,
Panda Bear,
The New Christs,
Lebanon Hanover,
Morten Harket,
James White and The Blacks,
La Düsseldorf,
Barbara Tucker,
These Immortal Souls,
Sex Pistols,
Rapeman,
UT,
Can,
Masters at Work,
Jacques Brel,
Flipper,
Sällskapet,
the Human League,
Smog,
Tres Demented,
Stetsasonic,
Curtis Mayfield,
Newcleus,
Television,
Deepchord,
John Coltrane,
Excepter,
The Victims,
Al Stewart,
Supertramp,
Bootsy Collins,
Oneida,
Eurythmics,
Joe Smooth, Joe Smooth, Joe Smooth, Joe Smooth.
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.