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 Italy and from Philadelphia.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Portland and Toronto.
I'm losing my edge to the art-school Milan 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 synthesizer sounds with much patience.
I was there when Michael McDonald 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 Procol Harum to the funk kids.
I played it at the Roxy.
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 Sandy B. All the underground hits.
All Manfred Mann's Earth Band tracks. I heard you have a vinyl of every Terror Squad Feat. Camron record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a linndrum and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Arab on Radar record.
I hear that you and your band have sold your oboe and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gary Puckett & The Union Gap,
Marmalade,
The Smoke,
Con Funk Shun,
Moby Grape,
Funkadelic,
Gong,
Main Source,
Public Image Ltd.,
Sexual Harrassment,
Jesper Dahlback,
Theoretical Girls,
Connie Case,
Drive Like Jehu,
Quando Quango,
Television,
Sonny Sharrock,
Severed Heads,
Whodini,
The Index,
KRS-One,
Depeche Mode,
Spandau Ballet,
Bluetip,
Das Ding,
Albert Ayler,
Byron Stingily,
The Wake,
Symarip,
Max Romeo,
The Blackbyrds,
Henry Cow,
Pantaleimon,
Delon & Dalcan,
Morten Harket,
Fatback Band,
the Soft Cell,
Stockholm Monsters,
Joey Negro,
Peter & Gordon,
Country Joe & The Fish,
Aural Exciters,
Adolescents,
Thee Headcoats,
Unwound,
Kenny Larkin,
Lightning Bolt,
Loose Ends,
Liaisons Dangereuses,
Chris & Cosey,
Shoche,
Arcadia,
The Star Department,
Radiohead,
Donny Hathaway,
Wally Richardson,
Porter Ricks,
Kool G Rap & DJ Polo,
MC5,
Bauhaus,
Gerry Rafferty,
Flipper, Flipper, Flipper, Flipper.
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.