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 Greece and from Delhi.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1970.
I'm losing my edge.
To all the kids in Mumbai and Shanghai.
I'm losing my edge to the art-school Paris 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 chamberlin sounds with much patience.
I was there when Lou Reed 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 Sun City Girls to the grunge kids.
I played it at the Crocodile.
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 Soft Cell. All the underground hits.
All The Last Poets tracks. I heard you have a vinyl of every Kauko Röyhkä ja Narttu record on German import.
I heard that you have a white label of every seminal rap 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 a theremin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Minor Threat record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Juan Atkins,
Monolake,
Cheater Slicks,
Crispy Ambulance,
The Divine Comedy,
Arab on Radar,
Neu!,
Lou Reed & John Cale,
Jawbox,
Moby Grape,
Inner City,
Section 25,
Lindisfarne,
OOIOO,
Selector Dub Narcotic,
Blossom Toes,
The Vogues,
Barrington Levy,
Royal Trux,
Roy Ayers Ubiquity,
The Selecter,
Pharaoh Sanders and the Fire Engines,
the Soft Cell,
Gregory Isaacs,
Marshall Jefferson,
Wally Richardson,
Darondo,
World's Most,
The Doobie Brothers,
The Slits,
Sun Ra Arkestra,
Sad Lovers and Giants,
Big Daddy Kane,
Goldenarms,
Matthew Bourne,
Public Enemy,
Bootsy Collins,
Super Lover Cee & Casanova Rud,
Leonard Cohen,
Nation of Ulysses,
Black Bananas,
LL Cool J,
Isaac Hayes,
The Moody Blues,
Dr. Dre and Snoop Doggy Dog,
Kool Moe Dee,
H. Thieme,
The Monochrome Set,
Pylon,
Henry Cow,
Das Ding,
Kaleidoscope,
Al Stewart,
Harpers Bizarre,
Pete Rock & C.L. Smooth,
Angry Samoans,
Los Fastidios,
The Blackbyrds,
Arthur Verocai,
Deutsch Amerikanische Freundschaft,
Minny Pops, Minny Pops, Minny Pops, Minny Pops.
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.