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 Norway and from Sao Paulo.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Paris and Copenhagen.
I'm losing my edge to the art-school Stockholm 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 sitar sounds with much patience.
I was there when Michael McDonald 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 Juan Atkins to the jazz kids.
I played it at the Hacienda.
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 Deutsch Amerikanische Freundschaft. All the underground hits.
All Silicon Teens tracks. I heard you have a vinyl of every Zero Boys record on German import.
I heard that you have a white label of every seminal electroclash 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 guitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Glenn Branca record.
I hear that you and your band have sold your harpsichord and bought a guitar.
I hear that you and your band have sold your guitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Image Ltd.,
David Axelrod,
Electric Light Orchestra,
Rufus Thomas,
Cecil Taylor,
Marmalade,
The Blackbyrds,
Junior Murvin,
Anthony Braxton,
The Standells,
Cabaret Voltaire,
the Bar-Kays,
Nik Kershaw,
June of 44,
Massinfluence,
Terrestrial Tones,
Moby Grape,
Michelle Simonal,
Motorama,
Crash Course in Science,
Sparks,
Bobby Womack,
Joyce Sims,
Harmonia,
Guru Guru,
Wolf Eyes,
Thinking Fellers Union Local 282,
Hasil Adkins,
Joey Negro,
Susan Cadogan,
Drive Like Jehu,
Babytalk,
Tim Buckley,
Charles Mingus,
Jesper Dahlbäck,
Lou Reed,
R.M.O.,
The Detroit Cobras,
Maurizio,
Organ,
Freddie Wadling,
Sunsets and Hearts,
Eyeless In Gaza,
Lonnie Liston Smith,
Das Ding,
MDC,
Franke,
DeepChord presents Echospace,
The Cure,
The Residents,
Deepchord,
Jandek,
Stockholm Monsters,
Faust,
Terry Callier,
Yazoo,
Boredoms,
Donny Hathaway,
Bob Dylan,
Minnie Riperton,
Severed Heads,
Dead Boys,
Porter Ricks,
Amazonics, Amazonics, Amazonics, Amazonics.
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.