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 Malawi and from London.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Mexico City and Mexico City.
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 1976 at the first Wire practice in a loft in Watford.
I was working on the snare sounds with much patience.
I was there when Nile Rodgers 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 Byron Stingily to the rock kids.
I played it at Cafe Wha.
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 Gil Scott Heron. All the underground hits.
All Wighnomy Brothers & Robag Wruhme tracks. I heard you have a vinyl of every Bang On A Can 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 '80s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Supertramp record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oneida,
Lonnie Liston Smith,
Lee Hazlewood,
Funky Four + One,
Youth Brigade,
Red Lorry Yellow Lorry,
Judy Mowatt,
Arthur Verocai,
EPMD,
Rowland S Howard / Lydia Lunch,
Glambeats Corp.,
The Five Americans,
Sparks,
Mad Mike,
Half Japanese,
Cecil Taylor,
Bobby Byrd,
Steve Hackett,
Juan Atkins,
Echo & the Bunnymen,
Ossler,
One Last Wish,
Joe Finger,
Grauzone,
Mission of Burma,
UT,
Cameo,
Interpol,
The Dave Clark Five,
Gang Gang Dance,
Cabaret Voltaire,
Soul Sonic Force,
Matthew Halsall,
Johnny Clarke,
The Fall,
Brick,
The Modern Lovers,
Curtis Mayfield,
The Cowsills,
Andrew Hill,
Slave,
The Litter,
Sly & The Family Stone,
Carl Craig,
Harry Pussy,
Lyres,
Nation of Ulysses,
Boredoms,
Au Pairs,
Flash Fearless,
The Divine Comedy,
Rosa Yemen,
Nick Cave & The Bad Seeds,
Bush Tetras,
James White and The Blacks,
Negative Approach,
Skarface,
Symarip,
Ronan,
The Sound,
Lower 48, Lower 48, Lower 48, Lower 48.
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.