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 Nicaragua and from Cairo.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Beijing and Portland.
I'm losing my edge to the art-school Lille 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 rhodes 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 Harpers Bizarre to the punk 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 Quando Quango. All the underground hits.
All Iggy Pop tracks. I heard you have a vinyl of every The Jesus and Mary Chain record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a linndrum and an organ and are throwing your macbook out the window because you want to make something real. You want to make a James White and The Blacks record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
ABBA,
Magma,
Bootsy Collins,
Electric Light Orchestra,
Brand Nubian,
Black Bananas,
Nirvana,
The Move,
Organ,
Kango’s Stein Massive,
AZ,
Don Cherry,
The Red Krayola,
Second Layer,
Marvin Gaye,
Swans,
Carl Craig,
Roger Hodgson,
Urselle,
Soul II Soul,
The Doors,
Gil Scott-Heron & Brian Jackson,
Trumans Water,
Peter and Kerry,
Eden Ahbez,
Alphaville,
Angry Samoans,
Vladislav Delay,
These Immortal Souls,
the Soft Cell,
Saccharine Trust,
Roxy Music,
Neil Young,
La Düsseldorf,
Pulsallama,
Eddi Front,
Spoonie Gee,
Nico,
This Heat,
Marmalade,
Minutemen,
The Pop Group,
Talk Talk,
Aloha Tigers,
The Sonics,
Todd Terry,
Theoretical Girls,
Model 500,
Lungfish,
Kool Moe Dee,
Deadbeat,
Juan Atkins,
Archie Shepp,
The Gun Club,
Lebanon Hanover,
Darondo,
Charles Mingus,
Althea and Donna,
Clear Light,
The Music Machine,
Fluxion, Fluxion, Fluxion, Fluxion.
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.