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 Philippines and from Sao Paulo.
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 1979.
I'm losing my edge.
To all the kids in Milan and Tehran.
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 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 Vaughan Mason & Crew to the grime kids.
I played it at the Spitz.
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 Sixth Finger. All the underground hits.
All Oblivians tracks. I heard you have a vinyl of every a-ha record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a theremin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Gian Franco Pienzio 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?
Jacques Brel,
Unrelated Segments,
Brand Nubian,
Drive Like Jehu,
Dark Day,
Stiv Bators,
Chris Corsano,
John Cale,
Rahsaan Roland Kirk,
Rufus Thomas,
The Barracudas,
Spoonie Gee,
the Human League,
Ken Boothe,
Jerry Gold Smith,
Eve St. Jones,
Janne Schatter,
the Swans,
Yellowson,
Jeff Lynne,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Oneida,
Eric Copeland,
H. Thieme,
Suburban Knight,
Bill Wells,
Kas Product,
Fatback Band,
Procol Harum,
K-Klass,
Anthony Braxton,
Aaron Thompson,
Aswad,
Brothers Johnson,
Malaria!,
Fat Boys,
Schoolly D,
Terry Callier,
Q65,
Buzzcocks,
Rowland S Howard / Lydia Lunch,
Joe Smooth,
Country Joe & The Fish,
Camron Feat. Memphis Bleek And Beenie Seigel,
Bauhaus,
Nas,
JFA,
Moby Grape,
The Count Five,
Grandmaster Flash,
Arthur Verocai,
Shuggie Otis,
Prince Buster,
The Peanut Butter Conspiracy,
Banda Bassotti,
Kings Of Tomorrow,
Lungfish,
Stetsasonic,
New York Dolls,
David McCallum,
Big Daddy Kane,
Rekid,
Strawberry Alarm Clock,
Bush Tetras,
The Cramps, The Cramps, The Cramps, The Cramps.
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.