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 Venezuela and from Houston.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Mexico City and Tehran.
I'm losing my edge to the art-school Lagos 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the arpeggiator 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 Rapeman to the rock kids.
I played it at the Troubador.
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 Arthur Verocai. All the underground hits.
All Cheater Slicks tracks. I heard you have a vinyl of every Black Moon 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 '80s cut and another box set from the '70s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Monochrome Set record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Au Pairs,
Avey Tare & Kría Brekkan,
Eyeless In Gaza,
Neil Young,
Jacob Miller,
Marvin Gaye,
Heavy D & The Boyz,
Tommy Roe,
Royal Trux,
Skriet,
Bobbi Humphrey,
The Electric Prunes,
Main Source,
Porter Ricks,
Wolf Eyes,
Fort Wilson Riot,
Faust,
Soft Machine,
FM Einheit,
Mandrill,
the Human League,
KRS-One,
Stetsasonic,
Delta 5,
Parry Music,
The Tremeloes,
The Fortunes,
John Lydon,
Panda Bear,
Pet Shop Boys,
Masters at Work,
Brick,
B.T. Express,
The Alarm Clocks,
Public Image Ltd.,
Kool Moe Dee,
Popol Vuh,
Ohio Players,
Sex Pistols,
The Saints,
Beasts of Bourbon,
X-102,
Minutemen,
Cluster,
Joensuu 1685,
Second Layer,
The Leaves,
Quadrant,
Sixth Finger,
The Dave Clark Five,
The Doobie Brothers,
Minnie Riperton,
Prince Buster,
Alice Coltrane,
Supertramp,
Danielle Patucci,
Electric Light Orchestra,
Matthew Halsall,
Rhythm & Sound,
Sun Ra,
In Retrospect,
Richard Hell and the Voidoids, Richard Hell and the Voidoids, Richard Hell and the Voidoids, Richard Hell and the Voidoids.
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.