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 Tajikistan and from Winnipeg.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Manila and Houston.
I'm losing my edge to the art-school Madrid 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 spring reverb sounds with much patience.
I was there when Tom Verlaine 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 Gil Scott-Heron & Brian Jackson to the crunk kids.
I played it at the Troubador.
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 Jacques Brel. All the underground hits.
All Jesper Dahlbäck tracks. I heard you have a vinyl of every The Velvet Underground record on German import.
I heard that you have a white label of every seminal dance 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 theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Aswad record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kango’s Stein Massive,
Sandy B,
Harmonia,
Ituana,
L. Decosne,
Ronan,
Liaisons Dangereuses,
Sexual Harrassment,
Ronnie Foster,
Avey Tare's Slasher Flicks,
Skarface,
Amon Düül,
Symarip,
Easy Going,
Hasil Adkins,
The Wake,
Kauko Röyhkä ja Narttu,
Danielle Patucci,
Pussy Galore,
Ossler,
Cal Tjader,
X-Ray Spex,
Make Up,
Lonnie Liston Smith,
John Holt,
Maurizio,
The Sound,
The Five Americans,
Sad Lovers and Giants,
Pharaoh Sanders and the Fire Engines,
The Grass Roots,
Gang Green,
Bootsy Collins,
Kenny Larkin,
Fela Kuti,
Siglo XX,
Sparks,
Man Parrish,
Hoover,
The Dirtbombs,
Robert Görl,
Oneida,
The Blues Magoos,
Moss Icon,
Super Lover Cee & Casanova Rud,
Depeche Mode,
Minutemen,
Zero Boys,
Spandau Ballet,
Joe Smooth,
The Searchers,
The Doobie Brothers,
A Flock of Seagulls,
John Lydon,
Ultravox,
JFA,
Ken Boothe,
Theoretical Girls,
Radio Birdman,
LL Cool J, LL Cool J, LL Cool J, LL Cool J.
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.