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 Seychelles and from Seoul.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Portland and Philadelphia.
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 1983 at the first Art of Noise practice in a loft in London.
I was working on the 808 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 Arab on Radar to the electroclash kids.
I played it at the Spitz.
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 Blancmange. All the underground hits.
All The Residents tracks. I heard you have a vinyl of every Nico record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a sitar and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Avey Tare record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Little Man,
Henry Cow,
The Golliwogs,
KRS-One,
Crime,
Chris Corsano,
The Fall,
Maurizio,
Black Flag,
Brick,
Aloha Tigers,
Youth Brigade,
June Days,
ABBA,
Boogie Down Productions,
Glenn Branca,
Bang on a Can All-Stars,
Skriet,
The Toasters,
Fifty Foot Hose,
Nico,
Mo-Dettes,
Cecil Taylor,
Au Pairs,
Deutsch Amerikanische Freundschaft,
Man Eating Sloth,
Larry & the Blue Notes,
Bluetip,
Moebius,
Cabaret Voltaire,
Boredoms,
The Black Dice,
Sun Ra Arkestra,
Reagan Youth,
La Düsseldorf,
10cc,
Bill Wells,
Piero Umiliani,
Y Pants,
Dark Day,
The Count Five,
Camron Feat. Memphis Bleek And Beenie Seigel,
Saccharine Trust,
The Monochrome Set,
Electric Prunes,
Nick Cave & The Bad Seeds,
Sunsets and Hearts,
Liaisons Dangereuses,
Crooked Eye,
Ten City,
The Techniques,
Vainqueur,
The Litter,
Robert Wyatt,
Tubeway Army,
Severed Heads,
Gang Starr,
Public Enemy,
Scion,
Eve St. Jones,
Jimmy McGriff,
Ultra Naté,
The West Coast Pop Art Experimental Band,
Chrome,
Radiohead, Radiohead, Radiohead, Radiohead.
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.