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 Czech Republic and from Madrid.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Toronto and Tokyo.
I'm losing my edge to the art-school Delhi 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 Selda practice in a loft in Istanbul.
I was working on the clarinet sounds with much patience.
I was there when Captain Beefheart 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 Theoretical Girls to the electroclash kids.
I played it at the Astoria.
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 Hasil Adkins. All the underground hits.
All Popol Vuh tracks. I heard you have a vinyl of every 8 Eyed Spy record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Gregory Isaacs record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marcia Griffiths,
Main Source,
Bobby Hutcherson,
Joe Finger,
the Normal,
Todd Terry,
Skarface,
The Flesh Eaters,
Andrew Ashong & Theo Parrish,
John Cale,
Masters at Work,
Roxette,
Wire,
Moby Grape,
Nick Cave & The Bad Seeds,
Hasil Adkins,
June of 44,
Reagan Youth,
Drive Like Jehu,
Soulsonic Force,
Gang Starr,
Mandrill,
Drexciya,
Quadrant,
Intrusion,
Arcadia,
Tubeway Army,
Wolf Eyes,
Throbbing Gristle,
Gary Puckett & The Union Gap,
Bang On A Can,
Dennis Brown,
Grandmaster Flash,
Shoche,
The Sound,
Pulsallama,
Lungfish,
Symarip,
Art Ensemble Of Chicago,
Ralphi Rosario,
The Zeros,
Yusef Lateef,
Procol Harum,
Minny Pops,
Ash Ra Tempel,
The Red Krayola,
Ultravox,
Kerrie Biddell,
Arab on Radar,
Unwound,
New Age Steppers,
Animal Collective,
The Index,
Tommy Roe,
cv313,
Jeff Lynne,
Cybotron,
Grauzone,
Ken Boothe,
Cluster,
Severed Heads,
Country Joe & The Fish, Country Joe & The Fish, Country Joe & The Fish, Country Joe & The Fish.
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.