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 Marshall Islands and from Paris.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Manchester and Tokyo.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the rhodes sounds with much patience.
I was there when Tom Verlaine 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 Bill Near to the grunge kids.
I played it at the Troubador.
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 Flamin' Groovies. All the underground hits.
All Motorama tracks. I heard you have a vinyl of every Peter and Kerry 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 '70s.
I hear you're buying a snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Swans record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mark Hollis,
Leonard Cohen,
Cluster,
Gil Scott-Heron & Brian Jackson,
Albert Ayler,
Bootsy's Rubber Band,
Swans,
Yaz,
Thee Headcoats,
Joey Negro,
Judy Mowatt,
Hoover,
E-Dancer,
Oneida,
Flamin' Groovies,
the Human League,
Delon & Dalcan,
Lightning Bolt,
Zero Boys,
Roxy Music,
Faraquet,
Kerri Chandler,
Monks,
Alton Ellis,
The Monochrome Set,
Q and Not U,
Marc Almond,
Crash Course in Science,
Anthony Braxton,
Robert Wyatt,
Chris & Cosey,
Eddi Front,
Tommy Roe,
The Alarm Clocks,
The Happenings,
Smog,
New York Dolls,
Mission of Burma,
Fatback Band,
Ossler,
Lebanon Hanover,
Dual Sessions,
Eli Mardock,
Aaron Thompson,
Ohio Players,
The United States of America,
The Knickerbockers,
Amon Düül,
Buzzcocks,
Freddie Wadling,
The Doors,
The Fall,
Man Eating Sloth,
Motorama,
John Coltrane,
David Axelrod,
The Blues Magoos,
Lizzy Mercier Descloux,
The Detroit Cobras,
Stereo Dub,
Juan Atkins,
Radiopuhelimet,
Gichy Dan, Gichy Dan, Gichy Dan, Gichy Dan.
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.