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 Belize and from Glasgow.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Columbus and Tokyo.
I'm losing my edge to the art-school Delhi 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the oboe sounds with much patience.
I was there when Tom Verlaine 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 Art Ensemble Of Chicago to the jazz kids.
I played it at the Roxy.
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 Crispian St. Peters. All the underground hits.
All The American Breed tracks. I heard you have a vinyl of every The Cosmic Jokers record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Joy Division record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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 United States of America,
Zero Boys,
Masters at Work,
Babytalk,
The Music Machine,
A Flock of Seagulls,
Sixth Finger,
Ultravox,
Eurythmics,
Gang Starr,
Los Fastidios,
Jerry Gold Smith,
Bizarre Inc.,
Rhythm & Sound,
Chris Corsano,
Brothers Johnson,
Pagans,
The Dave Clark Five,
The West Coast Pop Art Experimental Band,
Excepter,
Stockholm Monsters,
Oppenheimer Analysis,
Man Eating Sloth,
The Slackers,
Grandmaster Flash and the Furious Five,
Neu!,
Banda Bassotti,
Ultra Naté,
Inner City,
Alice Coltrane,
Andrew Ashong & Theo Parrish,
Minny Pops,
Q and Not U,
T.S.O.L.,
Red Lorry Yellow Lorry,
Marc Almond,
Archie Shepp,
Agent Orange,
Intrusion,
Donald Byrd,
Lizzy Mercier Descloux,
Gil Scott Heron,
Soul Sonic Force,
Siglo XX,
Glambeats Corp.,
Magma,
Suicide,
Pharaoh Sanders and the Fire Engines,
10cc,
The Offenders,
D'Angelo,
AZ,
Accadde A,
Terrestrial Tones,
Gang of Four,
Peter & Gordon,
the Germs,
Malaria!,
Niagra,
The Dirtbombs, The Dirtbombs, The Dirtbombs, The Dirtbombs.
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.