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 Saudi Arabia and from Portland.
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 1970.
I'm losing my edge.
To all the kids in Lyon and Beijing.
I'm losing my edge to the art-school Salvador 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 Michael McDonald 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 Drive Like Jehu to the dance 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 Charles Mingus. All the underground hits.
All Kings Of Tomorrow tracks. I heard you have a vinyl of every The Sonics record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Bobby Womack record.
I hear that you and your band have sold your theremin and bought a snare.
I hear that you and your band have sold your snare and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sun Ra,
Bang On A Can,
Pharaoh Sanders and the Fire Engines,
The United States of America,
The Mummies,
Gabor Szabo,
Jesper Dahlbäck,
Rapeman,
Masters at Work,
Barbara Tucker,
Robert Hood,
Pere Ubu,
Crooked Eye,
Scrapy,
Mars,
Sound Behaviour,
Rosa Yemen,
John Foxx,
Black Bananas,
Nas,
Sight & Sound,
Big Daddy Kane,
Kenny Larkin,
Oppenheimer Analysis,
Blancmange,
Gil Scott-Heron and Jamie xx,
Gang Starr,
Young Marble Giants,
Khruangbin,
Robert Görl,
Pharoah Sanders,
The Martian,
Q and Not U,
Lyres,
John Coltrane,
Absolute Body Control,
Yusef Lateef,
Art Ensemble Of Chicago,
Monks,
New York Dolls,
Second Layer,
Stereo Dub,
Outsiders,
Prince Buster,
The Tremeloes,
The Human League,
Funkadelic,
The Detroit Cobras,
Alphaville,
Procol Harum,
Scott Walker + Sunn O))),
Chris Corsano,
Pulsallama,
Public Enemy,
DNA,
Sun City Girls,
Dorothy Ashby,
The Chocolate Watch Band,
Au Pairs,
The Dead C,
Justin Hinds & The Dominoes,
Stockholm Monsters, Stockholm Monsters, Stockholm Monsters, Stockholm Monsters.
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.