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 Marshall Islands and from Lille.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1975.
I'm losing my edge.
To all the kids in Toronto and Glasgow.
I'm losing my edge to the art-school Manila 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 synthesizer sounds with much patience.
I was there when Captain Beefheart 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 Mo-Dettes to the grunge kids.
I played it at the Astoria.
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 Terry Callier. All the underground hits.
All James Chance & The Contortions tracks. I heard you have a vinyl of every Sexual Harrassment record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a clarinet and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Freddie Wadling record.
I hear that you and your band have sold your sitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deepchord,
Popol Vuh,
Siouxsie and the Banshees,
Jerry Gold Smith,
Gian Franco Pienzio,
June Days,
The Invisible,
Sad Lovers and Giants,
The Zeros,
Minnie Riperton,
The Raincoats,
Maleditus Sound,
Interpol,
Camberwell Now,
Country Teasers,
Index,
Ornette Coleman,
Television,
Drexciya,
Orchestral Manoeuvres in the Dark,
Marc Romboy vs. Booka Shade,
Donny Hathaway,
Cameo,
Maurizio,
New Order,
The Modern Lovers,
Dorothy Ashby,
John Foxx,
Sparks,
The Walker Brothers,
Jawbox,
DeepChord presents Echospace,
The Buckinghams,
cv313,
Fat Boys,
Easy Going,
Lou Christie,
Rapeman,
Larry & the Blue Notes,
Pole,
Yaz,
The Residents,
Drive Like Jehu,
Boredoms,
Newcleus,
the Normal,
Ash Ra Tempel,
CMW,
The Monks,
Darondo,
Mad Mike,
Can,
Bobby Womack,
Schoolly D,
Ultravox,
Kool Moe Dee,
The Grass Roots,
Pagans,
The West Coast Pop Art Experimental Band,
Bill Wells,
David Bowie,
Tubeway Army,
Rowland S Howard / Lydia Lunch,
Public Enemy, Public Enemy, Public Enemy, Public Enemy.
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.