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 St Lucia and from Woodstock.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Toronto and Bologna.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the linndrum 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 Gerry Rafferty to the disco kids.
I played it at CBGB's.
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 Alice Coltrane. All the underground hits.
All Kool G Rap & DJ Polo tracks. I heard you have a vinyl of every Joe Smooth record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Evens record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Görl,
The Chocolate Watch Band,
Glenn Branca,
Echospace,
Henry Cow,
The Sonics,
Shuggie Otis,
Johnny Clarke,
The Motions,
OOIOO,
Letta Mbulu,
Sandy B,
Grandmaster Flash,
Sex Pistols,
Brothers Johnson,
Matthew Halsall,
Bauhaus,
Index,
KRS-One,
The Fall,
Jeru the Damaja,
Moby Grape,
The Evens,
Röyhkä ja Rättö ja Lehtisalo,
Deutsch Amerikanische Freundschaft,
ABC,
Fugazi,
Marcia Griffiths,
Wire,
Bootsy Collins,
Roxette,
Kevin Saunderson,
Tom Boy,
Derrick Morgan,
The Five Americans,
Nik Kershaw,
Bobby Hutcherson,
Excepter,
Massinfluence,
The Blackbyrds,
Suicide,
The Velvet Underground,
Nas,
Underground Resistance,
Gary Puckett & The Union Gap,
Minnie Riperton,
The Smoke,
Franke,
The Birthday Party,
The Standells,
the Sonics,
Skarface,
X-101,
Thinking Fellers Union Local 282,
Avey Tare,
Los Fastidios,
Ash Ra Tempel,
Parry Music,
The Royal Family And The Poor,
Oblivians,
Soul Sonic Force,
The Monks, The Monks, The Monks, The Monks.
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.