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 Greece and from Salvador.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Lagos and Spokane.
I'm losing my edge to the art-school Edmonton 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the linndrum sounds with much patience.
I was there when Captain Beefheart 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 Organ to the grime kids.
I played it at the Hacienda.
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 China Crisis. All the underground hits.
All Q and Not U tracks. I heard you have a vinyl of every Schoolly D record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a güiro and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Crooked Eye record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Anthony Braxton,
Index,
Soft Machine,
KRS-One,
the Slits,
The Slits,
The Doors,
Stetsasonic,
Quando Quango,
The Cowsills,
Jesper Dahlbäck,
In Retrospect,
Youth Brigade,
Danielle Patucci,
The Barracudas,
Aaron Thompson,
The Alarm Clocks,
Country Teasers,
Davy DMX,
Heaven 17,
Avey Tare,
John Coltrane,
F. McDonald,
La Düsseldorf,
The Pop Group,
Dave Gahan,
The Dirtbombs,
Joensuu 1685,
AZ,
Ultramagnetic MC's,
China Crisis,
The Vogues,
Scion,
Inner City,
H. Thieme,
Barry Ungar,
Barclay James Harvest,
Rufus Thomas,
The Kinks,
Reagan Youth,
Shoche,
Television Personalities,
LL Cool J,
Leonard Cohen,
Traffic Nightmare,
Judy Mowatt,
Metal Thangz,
One Last Wish,
Thompson Twins,
Dual Sessions,
Swell Maps,
DJ Sneak,
Quantec,
Q and Not U,
Boredoms,
the Bar-Kays,
Gong,
Avey Tare's Slasher Flicks,
Sun Ra,
The Fall,
Rotary Connection, Rotary Connection, Rotary Connection, Rotary Connection.
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.