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 Bahamas and from Toronto.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1976.
I'm losing my edge.
To all the kids in Seoul and Bremen.
I'm losing my edge to the art-school Winnipeg 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 1976 at the first Wire practice in a loft in Watford.
I was working on the spring reverb sounds with much patience.
I was there when Robert Palmer 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 Make Up to the disco 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 Kerri Chandler. All the underground hits.
All Can tracks. I heard you have a vinyl of every Ice-T record on German import.
I heard that you have a white label of every seminal jazz 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 a clarinet and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Derrick May record.
I hear that you and your band have sold your synthesizer and bought an organ.
I hear that you and your band have sold your organ and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Byrd,
New Age Steppers,
Khruangbin,
Thinking Fellers Union Local 282,
Alphaville,
8 Eyed Spy,
Patti Smith,
The Names,
Inner City,
Pole,
Zapp,
Urselle,
Max Romeo,
Harmonia,
The Leaves,
Barclay James Harvest,
Bill Near,
Al Stewart,
The Techniques,
Archie Shepp,
Delta 5,
Fugazi,
Charles Mingus,
Oneida,
Gichy Dan,
Symarip,
Röyhkä ja Rättö ja Lehtisalo,
Warren Ellis,
Grey Daturas,
Susan Cadogan,
David McCallum,
Ultravox,
Dark Day,
Cabaret Voltaire,
Gian Franco Pienzio,
Camberwell Now,
Andrew Ashong & Theo Parrish,
The Skatalites,
In Retrospect,
Byron Stingily,
Deutsch Amerikanische Freundschaft,
Can,
Television,
Freddie Wadling,
Lou Christie,
China Crisis,
Isaac Hayes,
James Chance & The Contortions,
London Community Gospel Choir,
EPMD,
Skarface,
Avey Tare,
Todd Rundgren,
Dorothy Ashby,
Babytalk,
The Remains,
The Moleskins,
Ash Ra Tempel,
Ituana,
Bush Tetras,
Idris Muhammad,
Interpol,
Intrusion,
Piero Umiliani,
Jandek, Jandek, Jandek, Jandek.
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.