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 Iran and from Delhi.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Sao Paulo and Johannesburg.
I'm losing my edge to the art-school Mexico City 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 spring reverb sounds with much patience.
I was there when Michael McDonald 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 Cheater Slicks to the dance 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 The Residents. All the underground hits.
All Bootsy's Rubber Band tracks. I heard you have a vinyl of every the Human League record on German import.
I heard that you have a white label of every seminal punk 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 clarinet and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Robert Wyatt record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Glambeats Corp.,
The Count Five,
the Swans,
Crash Course in Science,
Tears for Fears,
FM Einheit,
Los Fastidios,
MDC,
Crispy Ambulance,
Kas Product,
Siglo XX,
Mission of Burma,
The Move,
Sonny Sharrock,
Lou Reed,
Gary Puckett & The Union Gap,
Gregory Isaacs,
Jacques Brel,
X-102,
The Raincoats,
The Victims,
Ash Ra Tempel,
Pylon,
Mandrill,
James Chance & The Contortions,
John Coltrane,
Panda Bear,
Jerry Gold Smith,
Joy Division,
Jawbox,
Ornette Coleman,
Deadbeat,
Carl Craig,
The Litter,
Oppenheimer Analysis,
Letta Mbulu,
the Fania All-Stars,
David McCallum,
Cheater Slicks,
Pere Ubu,
Cymande,
Gil Scott-Heron & Brian Jackson,
The Five Americans,
Junior Murvin,
Ultimate Spinach,
Yusef Lateef,
The Slackers,
Hasil Adkins,
Lou Reed & Metallica,
Stiv Bators,
Röyhkä ja Rättö ja Lehtisalo,
Tommy Roe,
Lungfish,
Pete Rock & C.L. Smooth,
Spoonie Gee,
Maleditus Sound,
LL Cool J,
Pet Shop Boys,
The Names,
Quadrant,
KRS-One,
Justin Hinds & The Dominoes,
The Doors,
Aloha Tigers,
Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire.
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.