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 Turkmenistan and from Columbus.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1968 to 1973.
I'm losing my edge.
To all the kids in New York and Cairo.
I'm losing my edge to the art-school Lagos 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 808 sounds with much patience.
I was there when David Bowie 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 Black Flag to the rock 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 Lebanon Hanover. All the underground hits.
All Neil Young tracks. I heard you have a vinyl of every Camouflage 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 an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Young Marble Giants 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?
Public Image Ltd.,
48th St. Collective,
The Offenders,
Albert Ayler,
Bad Manners,
The Modern Lovers,
Lizzy Mercier Descloux,
Bang On A Can,
The West Coast Pop Art Experimental Band,
Selector Dub Narcotic,
Graham Central Station,
Sandy B,
Agitation Free,
Vainqueur,
Lalann,
Tubeway Army,
ABBA,
Japan,
Quando Quango,
Dead Boys,
Theoretical Girls,
Lindisfarne,
Magma,
Sticky Fingaz feat. Raekwon,
Cheater Slicks,
Rapeman,
Television,
Andrew Hill,
Mad Mike,
Rod Modell,
PIL,
Max Romeo,
The Moleskins,
Mary Jane Girls,
Surgeon,
X-102,
Fad Gadget,
Ten City,
Barclay James Harvest,
Sight & Sound,
Joe Smooth,
Kauko Röyhkä ja Narttu,
The Cramps,
Major Organ And The Adding Machine,
Index,
The Fortunes,
Cecil Taylor,
Interpol,
Matthew Halsall,
Röyhkä ja Rättö ja Lehtisalo,
The Monks,
Sound Behaviour,
Joensuu 1685,
Excepter,
Panda Bear,
Anthony Braxton,
Animal Collective,
Bootsy Collins,
The Vogues,
The Slackers,
MC5,
The Durutti Column, The Durutti Column, The Durutti Column, The Durutti Column.
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.