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 Indonesia and from Stockholm.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Woodstock and Manchester.
I'm losing my edge to the art-school Seoul 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the chamberlin 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 Avey Tare & Kría Brekkan to the techno kids.
I played it at the Roxy.
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 Porter Ricks. All the underground hits.
All Jesper Dahlbäck tracks. I heard you have a vinyl of every Hot Snakes 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 '80s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Qualms record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Saccharine Trust,
The Vogues,
Faraquet,
Graham Central Station,
Steve Hackett,
Second Layer,
Desert Stars,
Lakeside,
Gang Green,
X-Ray Spex,
Sonny Sharrock,
Siouxsie and the Banshees,
Von Mondo,
Sight & Sound,
Stetsasonic,
D'Angelo,
Kango’s Stein Massive,
The Standells,
Excepter,
Brothers Johnson,
DeepChord presents Echospace,
Gang of Four,
Mo-Dettes,
Sad Lovers and Giants,
Monks,
Kool Moe Dee,
Crime,
Alphaville,
Tubeway Army,
Jerry's Kids,
Sun Ra,
Camberwell Now,
Ronan,
Trumans Water,
Icehouse,
Barbara Tucker,
Harmonia,
Malaria!,
Royal Trux,
Agent Orange,
The Blackbyrds,
B.T. Express,
Pierre Henry,
Man Eating Sloth,
Toni Rubio,
Aloha Tigers,
The Gap Band,
Bronski Beat,
Television,
Nick Cave & The Bad Seeds,
Eric Dolphy,
Liliput,
Joensuu 1685,
Can,
the Association,
Eyeless In Gaza,
The Black Dice,
the Sonics,
Suburban Knight,
Manfred Mann's Earth Band,
Unwound,
DJ Sneak,
Sly & The Family Stone, Sly & The Family Stone, Sly & The Family Stone, Sly & The Family Stone.
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.