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 Turkey and from Seoul.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Beijing and Philadelphia.
I'm losing my edge to the art-school Taipei 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 Feelies practice in a loft in Haledon.
I was working on the linndrum sounds with much patience.
I was there when Holger Czukay 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 Von Mondo to the grunge 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 Connie Case. All the underground hits.
All The Smiths tracks. I heard you have a vinyl of every Oneida 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 '70s.
I hear you're buying a rhodes and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Selecter record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James White and The Blacks,
Wolf Eyes,
Stiv Bators,
Bootsy's Rubber Band,
The Beau Brummels,
The Birthday Party,
John Coltrane,
Intrusion,
Rakim,
The Five Americans,
CMW,
the Soft Cell,
La Düsseldorf,
Delta 5,
Eve St. Jones,
Arcadia,
Bronski Beat,
Das Ding,
Gabor Szabo,
Terror Squad Feat. Camron,
Unrelated Segments,
Strawberry Alarm Clock,
Lou Christie,
Malaria!,
Tears for Fears,
John Lydon,
Young Marble Giants,
Hashim,
Alice Coltrane,
Section 25,
Wally Richardson,
Bill Near,
DNA,
Yellowson,
The Fall,
The Walker Brothers,
U.S. Maple,
The Cramps,
The Martian,
Kool G Rap & DJ Polo,
Archie Shepp,
Adolescents,
Michelle Simonal,
Art Ensemble Of Chicago,
Faraquet,
Sun Ra,
Ohio Players,
Niagra,
Sonny Sharrock,
Barclay James Harvest,
Maleditus Sound,
James Chance & The Contortions,
Crash Course in Science,
Slave,
Royal Trux,
Quantec,
E-Dancer,
Don Cherry,
The Star Department,
Mo-Dettes,
Cecil Taylor,
Cheater Slicks, Cheater Slicks, Cheater Slicks, Cheater Slicks.
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.