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 Paraguay and from Manchester.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Manchester and New York.
I'm losing my edge to the art-school Paris 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 rhodes sounds with much patience.
I was there when Tom Verlaine 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 Fort Wilson Riot to the techno 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 James White and The Blacks. All the underground hits.
All The Star Department tracks. I heard you have a vinyl of every Graham Central Station record on German import.
I heard that you have a white label of every seminal grunge 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 808 and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Chris & Cosey record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Colin Newman,
ABC,
Barry Ungar,
The Martian,
Patti Smith,
Neil Young & Crazy Horse,
Thompson Twins,
Harry Pussy,
Q and Not U,
Alice Coltrane,
the Swans,
Rosa Yemen,
Electric Light Orchestra,
Andrew Ashong & Theo Parrish,
Judy Mowatt,
R.M.O.,
Anthony Braxton,
Al Stewart,
Lower 48,
Peter and Kerry,
Junior Murvin,
Parry Music,
Eric Copeland,
Mandrill,
Kurtis Blow,
FM Einheit,
The Fall,
Essential Logic,
John Lydon,
Schoolly D,
Boredoms,
James White and The Blacks,
The West Coast Pop Art Experimental Band,
Index,
The Trojans,
Echospace,
Banda Bassotti,
Blossom Toes,
Maurizio,
Juan Atkins,
Cheater Slicks,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Iggy Pop,
Derrick Morgan,
Man Parrish,
Lungfish,
Angels of Light & Akron/Family,
Be Bop Deluxe,
Avey Tare,
X-102,
Theoretical Girls,
Tubeway Army,
The United States of America,
Johnny Osbourne,
Magma,
The Stooges,
Quando Quango,
Althea and Donna,
Oppenheimer Analysis,
Fat Boys, Fat Boys, Fat Boys, Fat Boys.
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.