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 Ivory Coast and from Milan.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Tokyo and Glasgow.
I'm losing my edge to the art-school Manila 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the snare 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 Scrapy to the grime 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 Country Teasers. All the underground hits.
All Electric Light Orchestra tracks. I heard you have a vinyl of every Strawberry Alarm Clock 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 güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Anthony Braxton record.
I hear that you and your band have sold your sitar and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Idris Muhammad,
The Music Machine,
Sonic Youth,
Steve Hackett,
Bush Tetras,
Brothers Johnson,
Stiv Bators,
Angels of Light & Akron/Family,
The Invisible,
Sugar Minott,
Minnie Riperton,
The Grass Roots,
KRS-One,
U.S. Maple,
Eve St. Jones,
The Mojo Men,
Peter & Gordon,
Masters at Work,
Goldenarms,
Spoonie Gee,
Thompson Twins,
Deepchord,
Graham Central Station,
The Misunderstood,
The Slits,
Pole,
T. Rex,
Rites of Spring,
The Residents,
Vladislav Delay,
Silicon Teens,
New Order,
Quando Quango,
John Lydon,
Crash Course in Science,
Clear Light,
Drexciya,
The Techniques,
The Raincoats,
Jandek,
Khruangbin,
Black Pus,
Roger Hodgson,
The Fugs,
Can,
X-102,
The Pop Group,
Loose Ends,
Kool G Rap & DJ Polo,
The Seeds,
Soft Machine,
H. Thieme,
Morten Harket,
Grandmaster Flash and the Furious Five,
Marshall Jefferson,
Unrelated Segments,
Rowland S Howard / Lydia Lunch,
Flipper,
R.M.O.,
Strawberry Alarm Clock,
Erykah Badu,
JFA,
The Fall,
The Detroit Cobras, The Detroit Cobras, The Detroit Cobras, The Detroit Cobras.
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.