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 Fiji and from Manchester.
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 1970.
I'm losing my edge.
To all the kids in Bremen and Taipei.
I'm losing my edge to the art-school Columbus 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 1971 at the first Big Star practice in a loft in Memphis.
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 Khruangbin 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 Danielle Patucci. All the underground hits.
All Althea and Donna tracks. I heard you have a vinyl of every Whodini 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 '90s.
I hear you're buying a harpsichord and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Make Up,
Frankie Knuckles,
JFA,
Siglo XX,
The J.B.'s,
Dorothy Ashby,
Alice Coltrane,
Cheater Slicks,
Deutsch Amerikanische Freundschaft,
Lizzy Mercier Descloux,
Popol Vuh,
Camberwell Now,
Joensuu 1685,
Rowland S Howard / Lydia Lunch,
Patti Smith,
Bill Wells,
Sonic Youth,
Bush Tetras,
The Monks,
Fear,
the Normal,
Brand Nubian,
Donny Hathaway,
Shoche,
Henry Cow,
Bizarre Inc.,
June of 44,
Hashim,
Howard Jones,
Buzzcocks,
Marvin Gaye,
Art Ensemble Of Chicago,
The Associates,
Gang Starr,
U.S. Maple,
Bobby Byrd,
Blancmange,
Motorama,
Aloha Tigers,
Goldenarms,
Sixth Finger,
Arthur Verocai,
The Offenders,
Todd Rundgren,
Eli Mardock,
Wally Richardson,
Andrew Ashong & Theo Parrish,
Can,
Red Lorry Yellow Lorry,
Absolute Body Control,
Zapp,
Sticky Fingaz feat. Raekwon,
Sex Pistols,
The Doors,
Robert Hood,
Deakin,
Deadbeat,
Joy Division,
The Golliwogs,
Massinfluence,
the Slits,
Ken Boothe,
The Tremeloes, The Tremeloes, The Tremeloes, The Tremeloes.
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.