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 Slovenia and from Seoul.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Manila and Taipei.
I'm losing my edge to the art-school Philadelphia 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the spring reverb 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 the Soft Cell to the techno 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 Stereo Dub. All the underground hits.
All The Misunderstood tracks. I heard you have a vinyl of every Lyres record on German import.
I heard that you have a white label of every seminal grime 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 clarinet and a snare and are throwing your macbook out the window because you want to make something real. You want to make a the Fania All-Stars 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?
Laurel Aitken,
Suburban Knight,
Rekid,
Kaleidoscope,
Chris & Cosey,
Lucky Dragons,
Bill Wells,
Marmalade,
Half Japanese,
Rowland S Howard / Lydia Lunch,
The Star Department,
The Mighty Diamonds,
Gary Puckett & The Union Gap,
48th St. Collective,
Bobby Byrd,
Jerry Gold Smith,
Todd Terry,
Alphaville,
The Evens,
Peter & Gordon,
Rites of Spring,
Erasure,
Patti Smith,
Nick Fraelich,
EPMD,
Deutsch Amerikanische Freundschaft,
The Alarm Clocks,
One Last Wish,
The Selecter,
Mandrill,
Hasil Adkins,
Tropical Tobacco,
Janne Schatter,
Todd Rundgren,
Procol Harum,
Yellowson,
Bronski Beat,
Accadde A,
Dual Sessions,
Monolake,
Jeru the Damaja,
Rod Modell,
Kenny Larkin,
The Dirtbombs,
Henry Cow,
Aural Exciters,
Bizarre Inc.,
Monks,
Steve Hackett,
Avey Tare's Slasher Flicks,
The Men They Couldn't Hang,
Boogie Down Productions,
The Birthday Party,
Wighnomy Brothers & Robag Wruhme,
The Last Poets,
Curtis Mayfield,
Yazoo,
Hardrive,
Au Pairs,
Deadbeat,
Barclay James Harvest,
Eve St. Jones,
R.M.O., R.M.O., R.M.O., R.M.O..
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.