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 East Timor 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 1960 to 1978.
I'm losing my edge.
To all the kids in Cairo and Milan.
I'm losing my edge to the art-school Shanghai 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 1978 at the first Visage practice in a loft in London.
I was working on the snare sounds with much patience.
I was there when Holger Czukay 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 Underground Resistance to the punk kids.
I played it at the Astoria.
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 The Grass Roots. All the underground hits.
All Icehouse tracks. I heard you have a vinyl of every Junior Murvin 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 synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Larry & the Blue Notes record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bang on a Can All-Stars,
Fear,
Young Marble Giants,
Lafayette Afro Rock Band,
Man Parrish,
F. McDonald,
Inner City,
Röyhkä ja Rättö ja Lehtisalo,
Jacob Miller,
Terror Squad Feat. Camron,
Infiniti,
Tom Boy,
Joyce Sims,
Marcia Griffiths,
Eurythmics,
Eric Copeland,
Sun City Girls,
Eyeless In Gaza,
Mary Jane Girls,
Joensuu 1685,
Dorothy Ashby,
Darondo,
The Men They Couldn't Hang,
Kerrie Biddell,
T. Rex,
Nas,
The Pop Group,
Intrusion,
Ultimate Spinach,
Eve St. Jones,
Delon & Dalcan,
The Shadows of Knight,
Throbbing Gristle,
The Associates,
Mantronix,
Hardrive,
Eric Dolphy,
Dave Gahan,
This Heat,
Bobby Byrd,
The Gun Club,
Hashim,
Minnie Riperton,
Pylon,
Graham Central Station,
The Durutti Column,
Crispian St. Peters,
Roxy Music,
Barbara Tucker,
Byron Stingily,
Can,
Minny Pops,
ABBA,
Marshall Jefferson,
Tres Demented,
Albert Ayler,
Moss Icon,
Brick,
Roy Ayers Ubiquity,
Funky Four + One,
A Flock of Seagulls,
Joe Smooth,
Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan.
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.