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 Uruguay and from New York.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Glasgow and Bremen.
I'm losing my edge to the art-school Toronto 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the sitar 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 Pulsallama to the jazz kids.
I played it at the Astoria.
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 Pierre Henry. All the underground hits.
All Symarip tracks. I heard you have a vinyl of every KRS-One 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 '60s cut and another box set from the '90s.
I hear you're buying an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Eyeless In Gaza record.
I hear that you and your band have sold your marimba and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aural Exciters,
Mars,
Eve St. Jones,
X-102,
Gary Puckett & The Union Gap,
Skaos,
Gang Gang Dance,
Franke,
Rahsaan Roland Kirk,
The Blues Magoos,
Faust,
Make Up,
EPMD,
Mr. Review,
Sexual Harrassment,
E-Dancer,
Hoover,
Eden Ahbez,
The Star Department,
Joey Negro,
Negative Approach,
Peter and Kerry,
Severed Heads,
Marc Romboy vs. Booka Shade,
Letta Mbulu,
Crooked Eye,
Chris & Cosey,
Henry Cow,
DJ Style,
Marmalade,
Andrew Hill,
Public Image Ltd.,
The Gap Band,
Pere Ubu,
U.S. Maple,
Joe Smooth,
Unrelated Segments,
The Count Five,
Cecil Taylor,
Mantronix,
Rufus Thomas,
The Stooges,
Dark Day,
Grandmaster Flash,
Harpers Bizarre,
Ronan,
Rites of Spring,
Los Fastidios,
Sex Pistols,
Rhythm & Sound,
John Lydon,
Althea and Donna,
David McCallum,
Harmonia,
Spandau Ballet,
The Names,
Vainqueur,
Bill Near,
Pussy Galore,
The Seeds,
The Knickerbockers,
Glenn Branca, Glenn Branca, Glenn Branca, Glenn Branca.
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.