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 Congo and from Tokyo.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Calgary and Lagos.
I'm losing my edge to the art-school Philadelphia 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 theremin sounds with much patience.
I was there when David Bowie 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 Bobby Womack to the punk kids.
I played it at the Spitz.
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 The Dirtbombs. All the underground hits.
All Porter Ricks tracks. I heard you have a vinyl of every Lalann record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a guitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aswad,
cv313,
Glenn Branca,
The Stooges,
Piero Umiliani,
Reuben Wilson,
Second Layer,
Main Source,
Todd Rundgren,
Hardrive,
DNA,
Delta 5,
The Grass Roots,
The Litter,
The Selecter,
Average White Band,
Alphaville,
The Doors,
The Knickerbockers,
Bronski Beat,
Pagans,
The Blackbyrds,
Sly & The Family Stone,
Warren Ellis,
Grey Daturas,
The Cure,
Lucky Dragons,
Youth Brigade,
The J.B.'s,
Arab on Radar,
Public Image Ltd.,
Animal Collective,
Cymande,
Jandek,
Fela Kuti,
Rhythim Is Rhythim,
Pere Ubu,
Urselle,
Audionom,
Pylon,
Jesper Dahlbäck,
AZ,
Radiohead,
Jacques Brel,
Nik Kershaw,
Patti Smith,
PIL,
Model 500,
Cal Tjader,
The Dirtbombs,
Dead Boys,
Bang On A Can,
Neil Young,
K-Klass,
Sunsets and Hearts,
David Axelrod,
Goldenarms,
Parry Music,
Con Funk Shun,
This Heat,
Glambeats Corp.,
The Shadows of Knight, The Shadows of Knight, The Shadows of Knight, The Shadows of Knight.
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.