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 Bolivia and from Bologna.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Bremen and Cairo.
I'm losing my edge to the art-school Mexico City 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 linndrum 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 The Pretty Things to the rap kids.
I played it at the Spitz.
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 Absolute Body Control. All the underground hits.
All The Young Rascals tracks. I heard you have a vinyl of every Kevin Saunderson 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 '70s cut and another box set from the '70s.
I hear you're buying an organ and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Interpol record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb 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 Barracudas,
Sun Ra,
The Skatalites,
The Vogues,
Lonnie Liston Smith,
Quadrant,
Howard Jones,
X-Ray Spex,
Marmalade,
The Real Kids,
Sun Ra Arkestra,
the Germs,
Pharoah Sanders,
X-101,
Bootsy Collins,
Gary Puckett & The Union Gap,
Soul II Soul,
Bronski Beat,
Icehouse,
Kango’s Stein Massive,
Glenn Branca,
Crash Course in Science,
Ken Boothe,
Siouxsie and the Banshees,
Teenage Jesus and the Jerks,
Ronnie Foster,
Tubeway Army,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Das Ding,
the Fania All-Stars,
Bang on a Can All-Stars,
The Men They Couldn't Hang,
The Pretty Things,
Dorothy Ashby,
Loose Ends,
The Black Dice,
Cameo,
Connie Case,
Talk Talk,
Deadbeat,
Lindisfarne,
Johnny Clarke,
Cal Tjader,
Jerry Gold Smith,
The Move,
The Divine Comedy,
Sonic Youth,
Parry Music,
The Litter,
Lee Hazlewood,
Eurythmics,
The Busters,
Agent Orange,
Eric Copeland,
Procol Harum,
Sight & Sound,
Soulsonic Force,
Sun City Girls,
Fugazi,
Sugar Minott,
The Raincoats,
Peter & Gordon, Peter & Gordon, Peter & Gordon, Peter & Gordon.
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.