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 Costa Rica and from Taipei.
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 1970.
I'm losing my edge.
To all the kids in Hong Kong and Paris.
I'm losing my edge to the art-school Paris 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 Josef K practice in a loft in Edinburgh.
I was working on the güiro 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 The Gories to the funk kids.
I played it at the Roxy.
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 Stockholm Monsters. All the underground hits.
All Shuggie Otis tracks. I heard you have a vinyl of every Eric Dolphy record on German import.
I heard that you have a white label of every seminal techno 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 guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Public Image Ltd. record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ten City,
Eden Ahbez,
Magazine,
Soft Cell,
T. Rex,
Moebius,
Pulsallama,
The Star Department,
Bobby Sherman,
Ohio Players,
Kool Moe Dee,
Traffic Nightmare,
Spandau Ballet,
Masters at Work,
Newcleus,
Sight & Sound,
Silicon Teens,
Beasts of Bourbon,
Wolf Eyes,
Arab on Radar,
Warren Ellis,
In Retrospect,
The Jesus and Mary Chain,
The Names,
Janne Schatter,
La Düsseldorf,
Q and Not U,
Reagan Youth,
Swans,
Jerry's Kids,
Nico,
Marvin Gaye,
Funkadelic,
the Germs,
Loose Ends,
LL Cool J,
The West Coast Pop Art Experimental Band,
AZ,
Nation of Ulysses,
Andrew Ashong & Theo Parrish,
Rekid,
the Slits,
One Last Wish,
James White and The Blacks,
Interpol,
Panda Bear,
Cameo,
10cc,
Average White Band,
Roxette,
Piero Umiliani,
Max Romeo,
Gabor Szabo,
CMW,
Bronski Beat,
Sunsets and Hearts,
James Chance & The Contortions,
Thee Headcoats,
Sam Rivers,
Selector Dub Narcotic,
Country Joe & The Fish,
Pantytec,
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.