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 Guyana and from Hong Kong.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Portland and Jakarta.
I'm losing my edge to the art-school Lyon 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 Michael McDonald 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 Gang Starr to the grunge kids.
I played it at Cafe Wha.
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 Albert Ayler. All the underground hits.
All Country Teasers tracks. I heard you have a vinyl of every Robert Görl record on German import.
I heard that you have a white label of every seminal disco 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 a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Sandy B record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Germs,
Pussy Galore,
T.S.O.L.,
Main Source,
Bobby Hutcherson,
Sixth Finger,
Gabor Szabo,
Radiopuhelimet,
Larry & the Blue Notes,
Flash Fearless,
X-102,
Skriet,
Heavy D & The Boyz,
Tres Demented,
Roy Ayers,
Adolescents,
The United States of America,
Lightning Bolt,
Alison Limerick,
Wire,
The Gap Band,
Barrington Levy,
Nik Kershaw,
Hoover,
The Black Dice,
Pierre Henry,
Joe Smooth,
The Gories,
Kaleidoscope,
Nico,
Susan Cadogan,
Mark Hollis,
Scientists,
Sparks,
Wighnomy Brothers & Robag Wruhme,
Visionaries,LMNO, T- Love & Iriscience,
Vladislav Delay,
Siouxsie and the Banshees,
John Coltrane,
Crash Course in Science,
Jerry Gold Smith,
Sonic Youth,
Unwound,
Jandek,
The Last Poets,
The Names,
The Men They Couldn't Hang,
Desert Stars,
Delon & Dalcan,
Kenny Larkin,
Amon Düül,
The Fortunes,
Steve Hackett,
Clear Light,
Roxette,
Black Moon,
Matthew Bourne,
Index,
the Normal,
Eric Dolphy,
Mars,
The Monks,
The Sonics,
Mantronix, Mantronix, Mantronix, Mantronix.
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.