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 Niger and from Johannesburg.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Columbus and Salvador.
I'm losing my edge to the art-school Jakarta 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the sitar 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 Sam Rivers to the dance 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 Terror Squad Feat. Camron. All the underground hits.
All Pussy Galore tracks. I heard you have a vinyl of every Carl Craig record on German import.
I heard that you have a white label of every seminal electroclash 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 marimba and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Bill Wells record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Spandau Ballet,
Half Japanese,
Scan 7,
kango's stein massive,
Harry Pussy,
PIL,
Symarip,
New Age Steppers,
Pulsallama,
CMW,
The Monks,
Wire,
The Blackbyrds,
Brand Nubian,
Jandek,
Thinking Fellers Union Local 282,
Rekid,
Parry Music,
Alice Coltrane,
Radio Birdman,
The Leaves,
Sugar Minott,
Reuben Wilson,
Brass Construction,
Andrew Ashong & Theo Parrish,
Electric Light Orchestra,
Slave,
Thee Headcoats,
Scientists,
Gastr Del Sol,
Big Daddy Kane,
Althea and Donna,
Camouflage,
Marmalade,
Rhythm & Sound,
Oblivians,
Faraquet,
Boredoms,
The Misunderstood,
Major Organ And The Adding Machine,
Yellowson,
Excepter,
The Peanut Butter Conspiracy,
Lightning Bolt,
Heaven 17,
Neu!,
Swell Maps,
Sound Behaviour,
Wighnomy Brothers & Robag Wruhme,
Thompson Twins,
Amon Düül II,
Be Bop Deluxe,
Bizarre Inc.,
Soulsonic Force,
Crooked Eye,
Erykah Badu,
Peter and Kerry,
Ten City,
The Offenders,
Nation of Ulysses,
Scott Walker,
Rapeman,
Smog,
Eric Dolphy,
London Community Gospel Choir, London Community Gospel Choir, London Community Gospel Choir, London Community Gospel Choir.
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.