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 Switzerland and from Houston.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Spokane and Columbus.
I'm losing my edge to the art-school Tokyo 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the synthesizer sounds with much patience.
I was there when Robert Palmer 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 Sisters of Mercy to the electroclash kids.
I played it at Cafe Wha.
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 The Sound. All the underground hits.
All The Pretty Things tracks. I heard you have a vinyl of every The Dave Clark Five record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a 808 and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Albert Ayler record.
I hear that you and your band have sold your clarinet and bought an oboe.
I hear that you and your band have sold your oboe and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blossom Toes,
The Fuzztones,
48th St. Collective,
Robert Hood,
The Move,
Livin' Joy,
Alison Limerick,
Avey Tare's Slasher Flicks,
Peter Gordon & Love of Life Orchestra,
Kevin Saunderson,
Bang On A Can,
Pussy Galore,
Soft Cell,
10cc,
The Zeros,
Grauzone,
Tom Boy,
The Litter,
Bad Manners,
Mad Mike,
The Moody Blues,
Scott Walker,
Guru Guru,
Dark Day,
UT,
Joensuu 1685,
The Doors,
The Black Dice,
Make Up,
Kool G Rap & DJ Polo,
Little Man,
Procol Harum,
Matthew Halsall,
Skarface,
Lou Reed & Metallica,
Gil Scott-Heron and Jamie xx,
Brick,
Popol Vuh,
JFA,
Rhythim Is Rhythim,
Con Funk Shun,
Bush Tetras,
Graham Central Station,
Girls At Our Best!,
Avey Tare,
Lou Christie,
Flash Fearless,
Black Flag,
Cymande,
Section 25,
The Durutti Column,
The Barracudas,
Soulsonic Force,
Nas,
Colin Newman,
Morten Harket,
Mars,
The Gun Club,
Malaria!,
Archie Shepp,
Saccharine Trust,
Model 500,
Howard Jones, Howard Jones, Howard Jones, Howard Jones.
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.