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 Samoa and from Delhi.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Glasgow and Philadelphia.
I'm losing my edge to the art-school Milan 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 rhodes sounds with much patience.
I was there when Lou Reed 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 Yellowson to the electroclash kids.
I played it at the Crocodile.
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 Rakim. All the underground hits.
All John Cale tracks. I heard you have a vinyl of every U.S. Maple 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 '90s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Man Eating Sloth record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roy Ayers Ubiquity,
Man Parrish,
Arthur Verocai,
Dead Boys,
Minny Pops,
Ornette Coleman,
Pole,
The Victims,
Bobby Hutcherson,
Blake Baxter,
Stereo Dub,
Archie Shepp,
Ajijia Myrayebe,
Arab on Radar,
Pierre Henry,
the Slits,
The Fugs,
X-Ray Spex,
T.S.O.L.,
Dorothy Ashby,
Sun Ra Arkestra,
The Gories,
Half Japanese,
Fugazi,
Hoover,
Patti Smith,
The Mojo Men,
Sonic Youth,
The Neon Judgement,
Quadrant,
Eric Dolphy,
Barclay James Harvest,
Unrelated Segments,
June Days,
Hot Snakes,
Aaron Thompson,
Skarface,
John Holt,
Rites of Spring,
Ralphi Rosario,
Schoolly D,
Cabaret Voltaire,
Wire,
Audionom,
the Association,
Joensuu 1685,
Visage,
Brand Nubian,
The Offenders,
Chris Corsano,
Bang on a Can All-Stars,
Joe Smooth,
Fat Boys,
Avey Tare,
The Selecter,
Bill Wells,
Kool G Rap & DJ Polo,
The Move,
Louis and Bebe Barron,
kango's stein massive,
Visionaries,LMNO, T- Love & Iriscience,
Curtis Mayfield,
Funkadelic,
Gang Gang Dance,
Stetsasonic, Stetsasonic, Stetsasonic, Stetsasonic.
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.