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 Papua New Guinea and from Woodstock.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1974.
I'm losing my edge.
To all the kids in Portland and Edmonton.
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 guitar 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 June Days to the techno kids.
I played it at the Spitz.
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 Lou Reed. All the underground hits.
All Eve St. Jones tracks. I heard you have a vinyl of every Television Personalities 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 '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Mr. Review record.
I hear that you and your band have sold your sitar and bought a snare.
I hear that you and your band have sold your snare and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Holt,
Kango’s Stein Massive,
The Durutti Column,
Moebius,
John Coltrane,
Severed Heads,
Q and Not U,
The Jesus and Mary Chain,
Iggy Pop,
London Community Gospel Choir,
Soft Machine,
Soulsonic Force,
Harpers Bizarre,
Wings,
Minor Threat,
Marcia Griffiths,
Angels of Light & Akron/Family,
Basic Channel,
Sad Lovers and Giants,
The Men They Couldn't Hang,
Marshall Jefferson,
DNA,
Lee Hazlewood,
Nico,
Crispy Ambulance,
The Standells,
Gian Franco Pienzio,
Groovy Waters,
Flash Fearless,
Grandmaster Flash,
Vaughan Mason & Crew,
Sticky Fingaz feat. Raekwon,
Avey Tare & Kría Brekkan,
Glambeats Corp.,
The Neon Judgement,
The Victims,
Agent Orange,
Slave,
Boogie Down Productions,
The Grass Roots,
Anthony Braxton,
Sonic Youth,
Angry Samoans,
Nik Kershaw,
Jesper Dahlback,
The Velvet Underground,
The Happenings,
Gil Scott-Heron and Jamie xx,
The Five Americans,
Public Image Ltd.,
Stiv Bators,
The Motions,
FM Einheit,
Traffic Nightmare,
Red Lorry Yellow Lorry,
Loose Ends,
The Detroit Cobras,
The Saints,
Ash Ra Tempel,
La Düsseldorf,
Cymande,
Freddie Wadling, Freddie Wadling, Freddie Wadling, Freddie Wadling.
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.