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 Kuwait and from Taipei.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Winnipeg and Milan.
I'm losing my edge to the art-school Cairo 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 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 Skaos to the jazz kids.
I played it at the Astoria.
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 Alison Limerick. All the underground hits.
All Glambeats Corp. tracks. I heard you have a vinyl of every Skriet 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 '70s cut and another box set from the '70s.
I hear you're buying a sitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Electric Prunes record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gap Band,
Swell Maps,
The Litter,
The Red Krayola,
Dual Sessions,
Nick Cave & The Bad Seeds,
Radiopuhelimet,
The Count Five,
Oblivians,
Bizarre Inc.,
The Flesh Eaters,
PIL,
Soft Cell,
Traffic Nightmare,
New York Dolls,
Pussy Galore,
Marc Romboy vs. Booka Shade,
the Slits,
Buzzcocks,
Kerrie Biddell,
Youth Brigade,
Sly & The Family Stone,
Barry Ungar,
Pierre Henry,
Bluetip,
L. Decosne,
Brothers Johnson,
Man Eating Sloth,
Avey Tare,
Donny Hathaway,
Laurel Aitken,
Nils Olav,
Public Image Ltd.,
Sonny Sharrock,
The Fire Engines,
Kauko Röyhkä ja Narttu,
The Remains,
Todd Terry,
The Cosmic Jokers,
Mantronix,
Wasted Youth,
Cal Tjader,
The Mighty Diamonds,
Bill Wells,
Aural Exciters,
The Alarm Clocks,
The Raincoats,
Pylon,
Bush Tetras,
Schoolly D,
Fifty Foot Hose,
UT,
Kas Product,
Brick,
The Buckinghams,
The Offenders,
the Germs,
Lightning Bolt,
cv313,
Agitation Free,
Patti Smith,
James Chance & The Contortions,
Judy Mowatt,
The Human League, The Human League, The Human League, The Human League.
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.