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 Poland and from Portland.
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 1979.
I'm losing my edge.
To all the kids in Hong Kong and Stockholm.
I'm losing my edge to the art-school Lille 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the chamberlin 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 Marc Romboy vs. Booka Shade to the techno kids.
I played it at Trash.
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 Gang Green. All the underground hits.
All Sun Ra tracks. I heard you have a vinyl of every the Fania All-Stars 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 '90s.
I hear you're buying a synthesizer and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Sarah Menescal record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harpers Bizarre,
U.S. Maple,
Jeff Mills,
The Shadows of Knight,
Rhythm & Sound,
Gang of Four,
The Modern Lovers,
Kenny Larkin,
The Chocolate Watch Band,
Frankie Knuckles,
Pierre Henry,
Hoover,
KRS-One,
The Moody Blues,
The Jesus and Mary Chain,
These Immortal Souls,
Yaz,
The Pop Group,
James White and The Blacks,
Mr. Review,
Visage,
the Slits,
Rotary Connection,
Bootsy Collins,
Ludus,
Robert Görl,
Kaleidoscope,
Ken Boothe,
Aaron Thompson,
Rites of Spring,
Masters at Work,
Avey Tare's Slasher Flicks,
Super Lover Cee & Casanova Rud,
Althea and Donna,
Mandrill,
The Toasters,
Roy Ayers Ubiquity,
Metal Thangz,
Sun Ra Arkestra,
New York Dolls,
Minny Pops,
Teenage Jesus and the Jerks,
Pantytec,
Pharaoh Sanders and the Fire Engines,
The Seeds,
PIL,
Wire,
World's Most,
The Index,
Morten Harket,
Heavy D & The Boyz,
Colin Newman,
UT,
Fat Boys,
Whodini,
Rekid,
Niagra,
the Swans,
Slick Rick,
Pylon,
Basic Channel,
The West Coast Pop Art Experimental Band,
The Blues Magoos, The Blues Magoos, The Blues Magoos, The Blues Magoos.
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.