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 Albania and from Bremen.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Bremen and London.
I'm losing my edge to the art-school Mexico City 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 spring reverb 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 Idris Muhammad to the dance kids.
I played it at the Roxy.
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 the Fania All-Stars. All the underground hits.
All The Five Americans tracks. I heard you have a vinyl of every Marvin Gaye record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Dark Day record.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stiv Bators,
Banda Bassotti,
the Association,
Gerry Rafferty,
The Fall,
Model 500,
Be Bop Deluxe,
Andrew Ashong & Theo Parrish,
The Techniques,
Brothers Johnson,
Eurythmics,
Rhythim Is Rhythim,
The Real Kids,
Lee Hazlewood,
Subhumans,
FM Einheit,
Audionom,
Harmonia,
Tropical Tobacco,
The Angels of Light,
Radiohead,
Joensuu 1685,
Masters at Work,
Gregory Isaacs,
Curtis Mayfield,
the Human League,
Trumans Water,
Ralphi Rosario,
Thompson Twins,
Frankie Knuckles,
Eric Dolphy,
Marc Almond,
The Invisible,
Electric Prunes,
MC5,
Erasure,
Fluxion,
Notorious BIG live in Amsterdam,
Ornette Coleman,
Cabaret Voltaire,
John Cale,
The Monks,
Loose Ends,
the Slits,
Leonard Cohen,
Simply Red,
Red Lorry Yellow Lorry,
Nils Olav,
Little Man,
The Men They Couldn't Hang,
Brand Nubian,
Panda Bear,
Terrestrial Tones,
The Victims,
The Motions,
Sällskapet,
Neil Young,
Jawbox,
Janne Schatter,
Kerrie Biddell,
Bizarre Inc.,
8 Eyed Spy,
The Blackbyrds, The Blackbyrds, The Blackbyrds, The Blackbyrds.
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.