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 Kosovo and from Milan.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Milan and Mexico City.
I'm losing my edge to the art-school Glasgow 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 linndrum 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 Peter and Kerry to the funk kids.
I played it at the 40 Watt.
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 Stereo Dub. All the underground hits.
All Isaac Hayes tracks. I heard you have a vinyl of every Gabor Szabo record on German import.
I heard that you have a white label of every seminal funk 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 marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Magazine record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Thinking Fellers Union Local 282,
Scott Walker,
Glambeats Corp.,
The Sound,
The Associates,
Maurizio,
Make Up,
Gong,
Sexual Harrassment,
Niagra,
Hot Snakes,
Country Joe & The Fish,
Franke,
Bauhaus,
Henry Cow,
Eve St. Jones,
Lebanon Hanover,
Heaven 17,
Ultramagnetic MC's,
Hasil Adkins,
Royal Trux,
Faraquet,
Brass Construction,
John Cale,
Zero Boys,
Sällskapet,
Magma,
Beasts of Bourbon,
Nik Kershaw,
The Grass Roots,
Bill Near,
Arthur Verocai,
ABC,
Easy Going,
Los Fastidios,
Chrome,
The Last Poets,
Vaughan Mason & Crew,
the Sonics,
Stereo Dub,
The Shadows of Knight,
Absolute Body Control,
L. Decosne,
The Motions,
Aural Exciters,
Marmalade,
Section 25,
Colin Newman,
Agent Orange,
John Coltrane,
Bootsy Collins,
Fear,
Surgeon,
Loose Ends,
Marc Almond,
Bobbi Humphrey,
Ajijia Myrayebe,
Procol Harum,
The Slits,
MDC,
Jimmy McGriff,
The Gladiators, The Gladiators, The Gladiators, The Gladiators.
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.