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 Andorra and from New York.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1979.
I'm losing my edge.
To all the kids in New York and Milan.
I'm losing my edge to the art-school Mexico City 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 marimba 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 Can to the techno 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 T.S.O.L.. All the underground hits.
All Shoche tracks. I heard you have a vinyl of every Ash Ra Tempel record on German import.
I heard that you have a white label of every seminal dance 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 clarinet and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Cymande record.
I hear that you and your band have sold your guitar and bought a güiro.
I hear that you and your band have sold your güiro and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Wyatt,
Bill Near,
Stereo Dub,
Bizarre Inc.,
The Standells,
Deepchord,
Lou Reed & John Cale,
Rhythm & Sound,
The Slackers,
Technova,
Ronnie Foster,
The Moleskins,
Masters at Work,
John Holt,
Don Cherry,
Ludus,
Sly & The Family Stone,
Tim Buckley,
Kevin Saunderson,
Make Up,
Television Personalities,
Urselle,
Blossom Toes,
Sonic Youth,
Public Image Ltd.,
Rahsaan Roland Kirk,
Joensuu 1685,
KRS-One,
Soul Sonic Force,
Ronan,
Jeru the Damaja,
Absolute Body Control,
The Flesh Eaters,
Infiniti,
Mandrill,
Joey Negro,
Fluxion,
The Vogues,
Wighnomy Brothers & Robag Wruhme,
Rhythim Is Rhythim,
Japan,
Michelle Simonal,
Bobby Hutcherson,
Minutemen,
The Divine Comedy,
Lebanon Hanover,
X-Ray Spex,
Angry Samoans,
Jesper Dahlbäck,
Inner City,
Scratch Acid,
Adolescents,
Fifty Foot Hose,
Freddie Wadling,
Mr. Review,
Lakeside,
Isaac Hayes,
Bobby Womack,
Minny Pops,
Gregory Isaacs,
Major Organ And The Adding Machine,
Organ,
Radiohead, Radiohead, Radiohead, Radiohead.
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.