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 Yemen and from Shanghai.
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 1979.
I'm losing my edge.
To all the kids in Bremen and Mumbai.
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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the harpsichord sounds with much patience.
I was there when Donald Fagen 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 Lou Reed & John Cale to the rock kids.
I played it at the 40 Watt.
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 Susan Cadogan. All the underground hits.
All Peter & Gordon tracks. I heard you have a vinyl of every Slave record on German import.
I heard that you have a white label of every seminal punk 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 spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Maleditus Sound record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Neil Young,
Nik Kershaw,
Ultravox,
Alison Limerick,
The Motions,
The West Coast Pop Art Experimental Band,
Arthur Verocai,
The Smiths,
John Cale,
Pantytec,
Franke,
Procol Harum,
Sister Nancy,
Section 25,
Jacques Brel,
Mark Hollis,
Idris Muhammad,
Girls At Our Best!,
Magazine,
Stiv Bators,
Morten Harket,
X-Ray Spex,
Lightning Bolt,
Strawberry Alarm Clock,
Lou Reed & John Cale,
Yaz,
Selector Dub Narcotic,
Cheater Slicks,
Angels of Light & Akron/Family,
The Slits,
Fear,
Malaria!,
The Sound,
Mission of Burma,
Carl Craig,
Cameo,
Slave,
The Monochrome Set,
Royal Trux,
Lakeside,
Camouflage,
The Grass Roots,
Tropical Tobacco,
Hoover,
Blancmange,
Con Funk Shun,
The Kinks,
The Searchers,
Guru Guru,
Amon Düül II,
Terror Squad Feat. Camron,
The Durutti Column,
Circle Jerks,
Dark Day,
Shuggie Otis,
X-101,
Rotary Connection,
48th St. Collective,
Warsaw,
Barry Ungar,
The United States of America,
Kas Product, Kas Product, Kas Product, Kas Product.
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.