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 Venezuela and from Manila.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Shanghai and Toronto.
I'm losing my edge to the art-school Glasgow 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 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 The Evens to the grunge kids.
I played it at the Crocodile.
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 Electric Light Orchestra. All the underground hits.
All Moss Icon tracks. I heard you have a vinyl of every Traffic Nightmare record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Motorama record.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
These Immortal Souls,
Minnie Riperton,
Arthur Verocai,
Schoolly D,
Aural Exciters,
Soft Cell,
Orchestral Manoeuvres in the Dark,
The Wake,
John Cale,
Eric Dolphy,
Drive Like Jehu,
Tomorrow,
OOIOO,
Avey Tare & Kría Brekkan,
Eddi Front,
Unrelated Segments,
Surgeon,
ABBA,
Dennis Brown,
Rapeman,
Kauko Röyhkä ja Narttu,
Sun Ra Arkestra,
Ultra Naté,
Ultramagnetic MC's,
Lou Reed & Metallica,
Bobby Womack,
AZ,
Brass Construction,
a-ha,
David Bowie,
Quando Quango,
Bizarre Inc.,
The Techniques,
Skarface,
Barry Ungar,
Minny Pops,
Radiohead,
New York Dolls,
Sonny Sharrock,
Lightning Bolt,
The Knickerbockers,
Half Japanese,
Maleditus Sound,
Zapp,
The Monks,
The Selecter,
Groovy Waters,
Von Mondo,
Kevin Saunderson,
Mary Jane Girls,
Harpers Bizarre,
Wally Richardson,
Curtis Mayfield,
Model 500,
Lee Hazlewood,
F. McDonald,
Mandrill,
Stereo Dub,
Nick Cave & The Bad Seeds,
Strawberry Alarm Clock,
Ronnie Foster,
The Moleskins,
Sight & Sound,
Intrusion, Intrusion, Intrusion, Intrusion.
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.