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 Mozambique and from Milan.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Stockholm and Houston.
I'm losing my edge to the art-school Salvador 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 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 Crash Course in Science to the rock 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 Chris Corsano. All the underground hits.
All Rosa Yemen tracks. I heard you have a vinyl of every Bluetip 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 '50s cut and another box set from the '70s.
I hear you're buying an organ and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Connie Case record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Qualms,
Cal Tjader,
Quadrant,
JFA,
Tim Buckley,
Major Organ And The Adding Machine,
Nik Kershaw,
Rites of Spring,
Bill Wells,
Section 25,
Buzzcocks,
kango's stein massive,
Oppenheimer Analysis,
Fatback Band,
Minutemen,
Bizarre Inc.,
Lebanon Hanover,
The Selecter,
Chris & Cosey,
The Misunderstood,
Isaac Hayes,
Zapp,
Orchestral Manoeuvres in the Dark,
Ultimate Spinach,
Chrome,
Easy Going,
Oblivians,
Kaleidoscope,
Marcia Griffiths,
Sad Lovers and Giants,
Saccharine Trust,
Cecil Taylor,
Sight & Sound,
Lonnie Liston Smith,
Flipper,
The Fuzztones,
Swell Maps,
Nils Olav,
The Remains,
Justin Hinds & The Dominoes,
Blossom Toes,
Don Cherry,
Sällskapet,
Ituana,
Dual Sessions,
10cc,
Deutsch Amerikanische Freundschaft,
Donald Byrd,
the Swans,
Soft Cell,
The Kinks,
Neil Young & Crazy Horse,
London Community Gospel Choir,
Gang Green,
Lou Reed,
Iggy Pop,
Rowland S Howard / Lydia Lunch,
Spoonie Gee,
Fugazi,
Jimmy McGriff,
Joe Smooth,
Pantaleimon,
Kerri Chandler,
Moss Icon, Moss Icon, Moss Icon, Moss Icon.
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.