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 Serbia and from Accra.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1966 to 1970.
I'm losing my edge.
To all the kids in London and Tehran.
I'm losing my edge to the art-school Woodstock 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 güiro 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 Lou Reed & Metallica 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 Yusef Lateef. All the underground hits.
All Television tracks. I heard you have a vinyl of every Bronski Beat record on German import.
I heard that you have a white label of every seminal disco 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 güiro and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Hasil Adkins record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lizzy Mercier Descloux,
Rufus Thomas,
Rod Modell,
Bizarre Inc.,
Gabor Szabo,
Eve St. Jones,
The Smoke,
Pylon,
Drive Like Jehu,
June Days,
Harpers Bizarre,
The Red Krayola,
Icehouse,
Absolute Body Control,
Amon Düül II,
Andrew Hill,
Jimmy McGriff,
Negative Approach,
Cluster,
Pole,
The Neon Judgement,
Deadbeat,
Godley & Creme,
Dorothy Ashby,
Grandmaster Flash and the Furious Five,
Graham Central Station,
Moebius,
Dawn Penn,
Sugar Minott,
Joe Smooth,
Kings Of Tomorrow,
X-Ray Spex,
Stiv Bators,
The Men They Couldn't Hang,
Johnny Osbourne,
cv313,
Terrestrial Tones,
Dead Boys,
Sparks,
Charles Mingus,
The Velvet Underground,
Bang On A Can,
The Saints,
Minny Pops,
Mandrill,
Gastr Del Sol,
Steve Hackett,
The Golliwogs,
Eddi Front,
The Monks,
The Fuzztones,
Man Eating Sloth,
Orchestral Manoeuvres in the Dark,
Bill Wells,
Intrusion,
Yazoo,
Liliput,
Eric Dolphy,
Tubeway Army,
OOIOO,
Au Pairs,
Man Parrish, Man Parrish, Man Parrish, Man Parrish.
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.