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 Kosovo and from Lagos.
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 1978.
I'm losing my edge.
To all the kids in Johannesburg and Portland.
I'm losing my edge to the art-school Tokyo 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 synthesizer 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 Rufus Thomas to the disco 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 Heavy D & The Boyz. All the underground hits.
All The Searchers tracks. I heard you have a vinyl of every Sonic Youth record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The J.B.'s record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Slits,
Marcia Griffiths,
Mary Jane Girls,
Tim Buckley,
Pharaoh Sanders and the Fire Engines,
Matthew Bourne,
Skarface,
Brand Nubian,
Hoover,
U.S. Maple,
The Remains,
Pylon,
B.T. Express,
The Kinks,
Ultramagnetic MC's,
Audionom,
Nick Fraelich,
Magma,
The Invisible,
Barrington Levy,
Shoche,
Unrelated Segments,
R.M.O.,
Johnny Osbourne,
Rowland S Howard / Lydia Lunch,
Guru Guru,
Mars,
The United States of America,
the Germs,
Mantronix,
PIL,
Lindisfarne,
The Last Poets,
EPMD,
Joensuu 1685,
Throbbing Gristle,
Super Lover Cee & Casanova Rud,
The Move,
Art Ensemble Of Chicago,
Rotary Connection,
The Music Machine,
Bang on a Can All-Stars,
Symarip,
Make Up,
Fort Wilson Riot,
Fear,
Gang Starr,
T.S.O.L.,
Boz Scaggs,
The Gun Club,
Gary Puckett & The Union Gap,
Average White Band,
Orchestral Manoeuvres in the Dark,
Tom Boy,
Cal Tjader,
The New Christs,
New Order,
Röyhkä ja Rättö ja Lehtisalo,
The Modern Lovers,
Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses.
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.