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 Guatemala and from Copenhagen.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1960 to 1971.
I'm losing my edge.
To all the kids in Halifax and Sao Paulo.
I'm losing my edge to the art-school Lagos 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 kango's stein massive to the jazz kids.
I played it at the Troubador.
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 Mad Mike. All the underground hits.
All Gil Scott-Heron & Brian Jackson tracks. I heard you have a vinyl of every Jandek 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 '50s cut and another box set from the '90s.
I hear you're buying an oboe and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Traffic Nightmare record.
I hear that you and your band have sold your oboe and bought a guitar.
I hear that you and your band have sold your guitar and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ajijia Myrayebe,
Tomorrow,
MC5,
Scott Walker + Sunn O))),
Judy Mowatt,
Cabaret Voltaire,
Harmonia,
Hardrive,
Jawbox,
Wings,
Neu!,
Porter Ricks,
Andrew Ashong & Theo Parrish,
The Sound,
Nirvana,
the Sonics,
David Axelrod,
Quantec,
Subhumans,
The New Christs,
The Pretty Things,
The Electric Prunes,
The Music Machine,
Eric Dolphy,
Rowland S Howard / Lydia Lunch,
Sandy B,
Grey Daturas,
Smog,
Lightning Bolt,
Ultramagnetic MC's,
The Slits,
Radiopuhelimet,
China Crisis,
Yusef Lateef,
Maurizio,
Second Layer,
Marcia Griffiths,
The Zeros,
Swell Maps,
Oneida,
Roger Hodgson,
DJ Sneak,
Pharaoh Sanders and the Fire Engines,
Hoover,
New York Dolls,
These Immortal Souls,
The Invisible,
Amon Düül II,
Radio Birdman,
Jacques Brel,
Lizzy Mercier Descloux,
It's A Beautiful Day,
Robert Wyatt,
Kaleidoscope,
Dead Boys,
The Count Five,
Rotary Connection,
John Lydon,
Janne Schatter,
Public Enemy,
Buzzcocks,
Robert Görl,
Rhythm & Sound, Rhythm & Sound, Rhythm & Sound, Rhythm & Sound.
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.