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 United States 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 1961 to 1975.
I'm losing my edge.
To all the kids in Taipei and Jakarta.
I'm losing my edge to the art-school Jakarta 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 Chic practice in a loft in New York.
I was working on the linndrum 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 Saccharine Trust to the punk kids.
I played it at the Troubador.
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 Neon Judgement. All the underground hits.
All Eric Copeland tracks. I heard you have a vinyl of every Faraquet record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a marimba and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Index record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Radiohead,
Avey Tare & Kría Brekkan,
Moby Grape,
The West Coast Pop Art Experimental Band,
Neu!,
Barry Ungar,
The Raincoats,
Lebanon Hanover,
Arab on Radar,
Eyeless In Gaza,
The Fire Engines,
Metal Thangz,
AZ,
Michelle Simonal,
Desert Stars,
Minor Threat,
Tomorrow,
Porter Ricks,
Bobby Hutcherson,
Man Eating Sloth,
Rahsaan Roland Kirk,
Qualms,
Soul Sonic Force,
The Sonics,
Andrew Ashong & Theo Parrish,
The Beau Brummels,
The Electric Prunes,
Alison Limerick,
Hardrive,
The Cure,
Gang Gang Dance,
The Sound,
Flipper,
The Toasters,
Sparks,
The Buckinghams,
Section 25,
Ultramagnetic MC's,
Visage,
the Association,
Japan,
Q and Not U,
Joensuu 1685,
Sonny Sharrock,
Glenn Branca,
The Moleskins,
The Slits,
Camberwell Now,
Grauzone,
Drexciya,
Ultravox,
Strawberry Alarm Clock,
The Detroit Cobras,
Idris Muhammad,
Bang On A Can,
Bill Wells,
Kerrie Biddell,
Minnie Riperton,
The Selecter,
The Kinks,
Sixth Finger,
The Associates,
Byron Stingily, Byron Stingily, Byron Stingily, Byron Stingily.
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.