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 Greece and from Woodstock.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Columbus and Edmonton.
I'm losing my edge to the art-school Delhi 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 Tom Verlaine 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 Sexual Harrassment to the electroclash kids.
I played it at CBGB's.
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 This Heat. All the underground hits.
All The Dave Clark Five tracks. I heard you have a vinyl of every Dual Sessions record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a güiro and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Motions 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?
Don Cherry,
Echo & the Bunnymen,
Brothers Johnson,
Joyce Sims,
Buzzcocks,
Kerrie Biddell,
Bobby Womack,
Neu!,
Barbara Tucker,
The Monks,
The United States of America,
Lyres,
The Invisible,
Pantytec,
Motorama,
The Dead C,
Toni Rubio,
the Swans,
The Knickerbockers,
The Beau Brummels,
Underground Resistance,
X-101,
Jesper Dahlbäck,
Heaven 17,
Arcadia,
Half Japanese,
Johnny Osbourne,
Cheater Slicks,
Mary Jane Girls,
Japan,
Grauzone,
Crooked Eye,
Todd Terry,
Lee Hazlewood,
Jerry Gold Smith,
The Flesh Eaters,
Rapeman,
Thompson Twins,
The Gories,
Teenage Jesus and the Jerks,
Electric Prunes,
Jandek,
U.S. Maple,
Louis and Bebe Barron,
Loose Ends,
Eli Mardock,
Q65,
Angels of Light & Akron/Family,
Connie Case,
the Association,
The Monochrome Set,
The Fall,
The Music Machine,
Parry Music,
Bobby Hutcherson,
Soul Sonic Force,
The Motions,
Pantaleimon,
This Heat,
Siglo XX,
Strawberry Alarm Clock,
The Gap Band,
Juan Atkins, Juan Atkins, Juan Atkins, Juan Atkins.
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.