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 Haiti and from Shanghai.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Bologna and Jakarta.
I'm losing my edge to the art-school Portland 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 1979 at the first Second Layer practice in a loft in South London.
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 Stockholm Monsters to the funk kids.
I played it at CBGB's.
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 Dorothy Ashby. All the underground hits.
All Roxette tracks. I heard you have a vinyl of every Silicon Teens record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an oboe and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Blossom Toes record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amon Düül II,
Ajijia Myrayebe,
Girls At Our Best!,
The Cosmic Jokers,
Rekid,
London Community Gospel Choir,
Nick Fraelich,
Boogie Down Productions,
Minny Pops,
Rahsaan Roland Kirk,
Dual Sessions,
The Birthday Party,
the Germs,
Saccharine Trust,
The Grass Roots,
X-102,
Ash Ra Tempel,
Moss Icon,
Fatback Band,
the Swans,
Sugar Minott,
Stetsasonic,
Thompson Twins,
Kool G Rap & DJ Polo,
Fort Wilson Riot,
Boredoms,
Whodini,
Thee Headcoats,
Todd Rundgren,
Neu!,
U.S. Maple,
Ornette Coleman,
Neil Young,
The Slackers,
Max Romeo,
Gian Franco Pienzio,
Grauzone,
The New Christs,
Wighnomy Brothers & Robag Wruhme,
Ludus,
Warren Ellis,
Frankie Knuckles,
Black Bananas,
the Association,
The Five Americans,
Soft Machine,
MDC,
Jacob Miller,
The Sound,
Inner City,
Parry Music,
Mars,
Lebanon Hanover,
Cecil Taylor,
The Count Five,
Bad Manners,
Wire,
Gang Green,
Eli Mardock,
Schoolly D,
Moby Grape,
Morten Harket,
Bizarre Inc.,
the Sonics, the Sonics, the Sonics, the Sonics.
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.