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 Cyprus and from Accra.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1975.
I'm losing my edge.
To all the kids in Mumbai and Copenhagen.
I'm losing my edge to the art-school Johannesburg 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 808 sounds with much patience.
I was there when Lou Reed 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 Cramps to the jazz 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 Vladislav Delay. All the underground hits.
All The Barracudas tracks. I heard you have a vinyl of every Procol Harum record on German import.
I heard that you have a white label of every seminal funk 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 a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a UT record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DJ Sneak,
The Mummies,
John Cale,
Janne Schatter,
Scrapy,
David Bowie,
Henry Cow,
Roy Ayers Ubiquity,
kango's stein massive,
Gichy Dan,
Model 500,
Depeche Mode,
Scott Walker,
The Standells,
X-101,
One Last Wish,
Lee Hazlewood,
The Stooges,
Cymande,
Bang on a Can All-Stars,
Pagans,
The Pop Group,
Harpers Bizarre,
Wally Richardson,
Zero Boys,
Jesper Dahlback,
Tubeway Army,
Eurythmics,
Aural Exciters,
U.S. Maple,
Quantec,
Electric Light Orchestra,
Lower 48,
8 Eyed Spy,
The Fire Engines,
Shuggie Otis,
The Toasters,
The Neon Judgement,
Urselle,
Crooked Eye,
Sun Ra Arkestra,
Bobby Byrd,
Can,
Peter and Kerry,
Nirvana,
Mad Mike,
Kurtis Blow,
Jandek,
Ultra Naté,
Thompson Twins,
The Invisible,
Niagra,
Joey Negro,
The Jesus and Mary Chain,
Arthur Verocai,
Ornette Coleman,
Arcadia,
Chrome,
Eric Copeland,
The Shadows of Knight,
Ultimate Spinach,
World's Most,
Television, Television, Television, Television.
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.