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 Malaysia and from Spokane.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1971.
I'm losing my edge.
To all the kids in New York and Winnipeg.
I'm losing my edge to the art-school Manila 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 linndrum 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 Fear to the rock 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 Country Teasers. All the underground hits.
All Bill Wells tracks. I heard you have a vinyl of every Radio Birdman record on German import.
I heard that you have a white label of every seminal rock 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 synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a X-Ray Spex record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dorothy Ashby,
Talk Talk,
Maurizio,
Gil Scott Heron,
Country Joe & The Fish,
Pantaleimon,
Moebius,
Grandmaster Flash and the Furious Five,
Tears for Fears,
John Holt,
Ken Boothe,
Dark Day,
Dual Sessions,
Mo-Dettes,
Half Japanese,
John Coltrane,
Sparks,
Surgeon,
The Associates,
Captain Beefheart & His Magic Band,
Loose Ends,
Royal Trux,
The Fire Engines,
Gang Gang Dance,
Altered Images,
Thinking Fellers Union Local 282,
Kerri Chandler,
Kool Moe Dee,
Big Daddy Kane,
The Slackers,
Boogie Down Productions,
The Modern Lovers,
PIL,
Lee Hazlewood,
In Retrospect,
Ossler,
Drive Like Jehu,
Electric Prunes,
Fluxion,
The Techniques,
David Bowie,
Stetsasonic,
Joyce Sims,
Glenn Branca,
Stereo Dub,
the Swans,
Unwound,
Kevin Saunderson,
Cheater Slicks,
Subhumans,
Susan Cadogan,
Nils Olav,
Lalann,
Bobby Byrd,
Eric Copeland,
Agitation Free,
Agent Orange,
Sonny Sharrock,
The Cure,
New Order,
Rotary Connection,
B.T. Express,
Rhythm & Sound,
Bobby Sherman, Bobby Sherman, Bobby Sherman, Bobby Sherman.
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.