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 Benin and from Portland.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Sao Paulo and London.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the guitar 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 Sandy B to the grime 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 Radiopuhelimet. All the underground hits.
All Absolute Body Control tracks. I heard you have a vinyl of every The American Breed 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 '80s.
I hear you're buying a mellotron and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Cecil Taylor record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Visionaries,LMNO, T- Love & Iriscience,
Bang on a Can All-Stars,
DeepChord presents Echospace,
David Axelrod,
Soulsonic Force,
Heavy D & The Boyz,
Fat Boys,
The Fortunes,
Lakeside,
Grey Daturas,
The Electric Prunes,
Banda Bassotti,
Lalann,
Malaria!,
The Men They Couldn't Hang,
The Busters,
the Swans,
Hardrive,
Alice Coltrane,
Spandau Ballet,
Pere Ubu,
Deutsch Amerikanische Freundschaft,
Marshall Jefferson,
June Days,
David McCallum,
Wire,
Piero Umiliani,
Youth Brigade,
John Coltrane,
The Durutti Column,
Thinking Fellers Union Local 282,
Electric Prunes,
Infiniti,
Arab on Radar,
The Dead C,
Massinfluence,
Liliput,
Be Bop Deluxe,
Supertramp,
Bill Wells,
Babytalk,
The Smoke,
New York Dolls,
PIL,
Crash Course in Science,
The Walker Brothers,
Teenage Jesus and the Jerks,
Soul Sonic Force,
Johnny Clarke,
Q and Not U,
The Invisible,
Yaz,
Hot Snakes,
The Birthday Party,
In Retrospect,
A Certain Ratio,
Q65,
Khruangbin,
Josef K,
Deadbeat,
Rhythm & Sound, Rhythm & Sound, Rhythm & Sound, Rhythm & Sound.
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.