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 Liberia and from Accra.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Manchester and Mumbai.
I'm losing my edge to the art-school Seoul 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the clarinet 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 Warren Ellis to the electroclash 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 Siglo XX. All the underground hits.
All The Vogues tracks. I heard you have a vinyl of every Art Ensemble Of Chicago record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a David Axelrod record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare's Slasher Flicks,
Deadbeat,
Jesper Dahlback,
Infiniti,
Avey Tare & Kría Brekkan,
Cymande,
The Evens,
Chris Corsano,
Absolute Body Control,
Rites of Spring,
Moebius,
Desert Stars,
The Music Machine,
The Smoke,
The Cowsills,
Shuggie Otis,
Zapp,
Flipper,
T.S.O.L.,
Bootsy's Rubber Band,
Y Pants,
the Swans,
Sound Behaviour,
China Crisis,
Al Stewart,
Quando Quango,
The Pretty Things,
Sparks,
Idris Muhammad,
Laurel Aitken,
Gichy Dan,
Soft Cell,
Girls At Our Best!,
X-102,
Ultra Naté,
Jawbox,
Frankie Knuckles,
Whodini,
Gastr Del Sol,
Marcia Griffiths,
The Young Rascals,
Gang Gang Dance,
Massinfluence,
Trumans Water,
Kayak,
Roxette,
Derrick May,
Kings Of Tomorrow,
Arthur Verocai,
Camberwell Now,
Oblivians,
Thee Headcoats,
Theoretical Girls,
Sun Ra,
Barclay James Harvest,
Sexual Harrassment,
Harpers Bizarre,
Lou Reed, Lou Reed, Lou Reed, Lou Reed.
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.