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 Mauritania and from Portland.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1972.
I'm losing my edge.
To all the kids in Jakarta and Mumbai.
I'm losing my edge to the art-school Houston 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 marimba 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 Ohio Players to the dance 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 Quantec. All the underground hits.
All Byron Stingily tracks. I heard you have a vinyl of every The Cosmic Jokers 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 '50s cut and another box set from the '90s.
I hear you're buying a sitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Von Mondo 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?
Sixth Finger,
ABC,
Bobby Byrd,
The Dead C,
Minor Threat,
The Birthday Party,
Tubeway Army,
Spandau Ballet,
F. McDonald,
Rites of Spring,
Captain Beefheart & His Magic Band,
Kool Moe Dee,
Peter & Gordon,
Slave,
Sunsets and Hearts,
The Seeds,
Matthew Bourne,
Ultimate Spinach,
Tommy Roe,
Eric Dolphy,
Basic Channel,
T.S.O.L.,
Charles Mingus,
Johnny Clarke,
Adolescents,
Mo-Dettes,
The American Breed,
The Index,
Scrapy,
Boredoms,
Bill Near,
Moebius,
This Heat,
The Names,
Barry Ungar,
Blossom Toes,
Duran Duran,
MDC,
10cc,
The Golliwogs,
Delon & Dalcan,
Dark Day,
Swell Maps,
Dead Boys,
The Saints,
Juan Atkins,
Drive Like Jehu,
the Swans,
Khruangbin,
The Shadows of Knight,
Interpol,
Sister Nancy,
Harry Pussy,
Dual Sessions,
K-Klass,
48th St. Collective,
Kerrie Biddell,
Buzzcocks,
Boogie Down Productions,
The Kinks,
Röyhkä ja Rättö ja Lehtisalo,
Pylon,
Kings Of Tomorrow,
Sonny Sharrock, Sonny Sharrock, Sonny Sharrock, Sonny Sharrock.
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.