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 Rwanda and from Lagos.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Woodstock and Winnipeg.
I'm losing my edge to the art-school Lille 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 Feelies practice in a loft in Haledon.
I was working on the mellotron 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 PIL to the techno 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 Qualms. All the underground hits.
All Gang Gang Dance tracks. I heard you have a vinyl of every Sister Nancy 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 '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Barbara Tucker record.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Terrestrial Tones,
New York Dolls,
Lindisfarne,
The Star Department,
Monolake,
June of 44,
Vaughan Mason & Crew,
Teenage Jesus and the Jerks,
Rites of Spring,
Cecil Taylor,
John Holt,
Khruangbin,
Stockholm Monsters,
Chrome,
Essential Logic,
The Moleskins,
Mantronix,
The Flesh Eaters,
Kerrie Biddell,
Mars,
Slick Rick,
Masters at Work,
Pylon,
Depeche Mode,
Cheater Slicks,
Siouxsie and the Banshees,
the Normal,
Yusef Lateef,
Crash Course in Science,
10cc,
Moss Icon,
Newcleus,
Robert Hood,
Procol Harum,
James Chance & The Contortions,
The Toasters,
The Young Rascals,
Neu!,
Eric B and Rakim,
Pole,
Q and Not U,
Flash Fearless,
Kenny Larkin,
The Golliwogs,
Gang Starr,
Morten Harket,
Art Ensemble Of Chicago,
Kas Product,
These Immortal Souls,
Second Layer,
The Remains,
PIL,
The Invisible,
Liliput,
Nick Fraelich,
Albert Ayler,
Colin Newman,
Minutemen,
Model 500,
Johnny Clarke,
Boredoms, Boredoms, Boredoms, Boredoms.
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.