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 Panama and from Copenhagen.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Halifax and Lagos.
I'm losing my edge to the art-school Toronto 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the snare 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 Davy DMX to the crunk kids.
I played it at the Crocodile.
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 Gong. All the underground hits.
All Morten Harket tracks. I heard you have a vinyl of every Soft Cell record on German import.
I heard that you have a white label of every seminal grunge 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 mellotron and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Porter Ricks record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marcia Griffiths,
KRS-One,
Das Ding,
Easy Going,
Schoolly D,
Theoretical Girls,
Glambeats Corp.,
Second Layer,
The Moleskins,
The Last Poets,
Quando Quango,
Aural Exciters,
Robert Hood,
Stereo Dub,
Crooked Eye,
Jeff Lynne,
Lucky Dragons,
The Pretty Things,
Heaven 17,
Youth Brigade,
Basic Channel,
Pierre Henry,
Flipper,
Deadbeat,
Brick,
Urselle,
Unwound,
Bob Dylan,
Zapp,
Bobby Hutcherson,
L. Decosne,
Grandmaster Flash and the Furious Five,
Rahsaan Roland Kirk,
Wire,
Ash Ra Tempel,
Parry Music,
Metal Thangz,
Von Mondo,
Chris Corsano,
Henry Cow,
Symarip,
Crash Course in Science,
Wally Richardson,
The Evens,
Buzzcocks,
The Dave Clark Five,
Agitation Free,
Ossler,
Kool G Rap & DJ Polo,
Tomorrow,
Wighnomy Brothers & Robag Wruhme,
Ken Boothe,
Cecil Taylor,
U.S. Maple,
Matthew Bourne,
Amazonics,
Lizzy Mercier Descloux,
Eden Ahbez,
T. Rex,
Brass Construction, Brass Construction, Brass Construction, Brass Construction.
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.