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 Tuvalu and from Bologna.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1979.
I'm losing my edge.
To all the kids in Jakarta and Manchester.
I'm losing my edge to the art-school London 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 spring reverb 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 Negative Approach to the jazz kids.
I played it at the 40 Watt.
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 Gabor Szabo. All the underground hits.
All Sun Ra tracks. I heard you have a vinyl of every The Slits 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 '60s cut and another box set from the '80s.
I hear you're buying a linndrum and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Idris Muhammad record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sarah Menescal,
Derrick May,
Captain Beefheart & His Magic Band,
Soft Cell,
John Foxx,
Depeche Mode,
Notorious BIG live in Amsterdam,
Bill Near,
Henry Cow,
David Axelrod,
Talk Talk,
London Community Gospel Choir,
Marvin Gaye,
Mission of Burma,
Bad Manners,
Crispian St. Peters,
Thee Headcoats,
Tommy Roe,
Los Fastidios,
The Dave Clark Five,
the Swans,
Lightning Bolt,
Bauhaus,
Kas Product,
Deadbeat,
Gabor Szabo,
Kool Moe Dee,
The Knickerbockers,
Public Enemy,
Ossler,
The Velvet Underground,
Q and Not U,
Rufus Thomas,
Organ,
The Associates,
Deutsch Amerikanische Freundschaft,
A Certain Ratio,
Flash Fearless,
These Immortal Souls,
The Beau Brummels,
cv313,
The Slackers,
Lou Christie,
Ice-T,
Kayak,
Ultra Naté,
Max Romeo,
Anthony Braxton,
Pussy Galore,
Ohio Players,
Qualms,
The Moleskins,
Super Lover Cee & Casanova Rud,
The Durutti Column,
Sun Ra,
Tropical Tobacco,
E-Dancer,
Jerry's Kids,
Todd Terry,
Richard Hell and the Voidoids,
The Techniques,
Minutemen,
Swans,
Deepchord, Deepchord, Deepchord, Deepchord.
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.