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 Liechtenstein and from Bologna.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Stockholm and Edmonton.
I'm losing my edge to the art-school Shanghai 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the 808 sounds with much patience.
I was there when Robert Palmer 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 Throbbing Gristle to the rap kids.
I played it at Trash.
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 Eurythmics. All the underground hits.
All Urselle tracks. I heard you have a vinyl of every The Leaves record on German import.
I heard that you have a white label of every seminal jazz 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 marimba and are throwing your macbook out the window because you want to make something real. You want to make a Black Flag record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lucky Dragons,
Darondo,
Fela Kuti,
Piero Umiliani,
Alison Limerick,
Ken Boothe,
Spandau Ballet,
Can,
Cymande,
Rapeman,
Hardrive,
Sparks,
These Immortal Souls,
Sun Ra Arkestra,
Soft Machine,
Livin' Joy,
Agent Orange,
The Knickerbockers,
Be Bop Deluxe,
Roy Ayers,
Warren Ellis,
Harmonia,
Todd Rundgren,
Young Marble Giants,
Tom Boy,
Traffic Nightmare,
Derrick Morgan,
Heavy D & The Boyz,
The Fortunes,
Louis and Bebe Barron,
Lou Reed & John Cale,
Max Romeo,
Saccharine Trust,
Pharoah Sanders,
The Blues Magoos,
Marine Girls,
June Days,
Roxette,
Jeff Lynne,
kango's stein massive,
L. Decosne,
Angry Samoans,
Loose Ends,
Barbara Tucker,
the Normal,
Terror Squad Feat. Camron,
The United States of America,
Marshall Jefferson,
Whodini,
Andrew Hill,
Cal Tjader,
Kas Product,
Dual Sessions,
Pantytec,
Bad Manners,
Hasil Adkins,
The Kinks,
Funky Four + One,
Gil Scott-Heron and Jamie xx,
Average White Band,
Aloha Tigers,
Bootsy's Rubber Band,
China Crisis,
Matthew Halsall,
Metal Thangz, Metal Thangz, Metal Thangz, Metal Thangz.
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.