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 Kenya and from Johannesburg.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Johannesburg and Hong Kong.
I'm losing my edge to the art-school Mumbai 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the güiro sounds with much patience.
I was there when Captain Beefheart 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 Spandau Ballet to the electroclash kids.
I played it at the 40 Watt.
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 Soft Cell. All the underground hits.
All the Bar-Kays tracks. I heard you have a vinyl of every Oblivians record on German import.
I heard that you have a white label of every seminal techno 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 chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Hasil Adkins record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Modern Lovers,
Scion,
Donny Hathaway,
Agent Orange,
New Order,
Peter and Kerry,
Nico,
Alison Limerick,
Teenage Jesus and the Jerks,
Sonic Youth,
Royal Trux,
the Slits,
Amazonics,
Maurizio,
The Sound,
Intrusion,
Goldenarms,
The Velvet Underground,
Crooked Eye,
Warsaw,
Audionom,
Johnny Clarke,
John Holt,
Brick,
Can,
Parry Music,
Mars,
The Index,
Yaz,
Aaron Thompson,
Siouxsie and the Banshees,
Flipper,
Drive Like Jehu,
Sun Ra Arkestra,
Skriet,
Rod Modell,
The Mojo Men,
Radiopuhelimet,
Crime,
the Germs,
Fugazi,
The Happenings,
Matthew Halsall,
Severed Heads,
Moebius,
Kango’s Stein Massive,
Pierre Henry,
Sad Lovers and Giants,
Roger Hodgson,
Aloha Tigers,
Amon Düül II,
Rowland S Howard / Lydia Lunch,
B.T. Express,
Television,
Liaisons Dangereuses,
The Shadows of Knight,
the Normal,
Ponytail,
Ralphi Rosario,
Man Eating Sloth,
Bobby Sherman,
Amon Düül,
JFA,
Kenny Larkin,
KRS-One, KRS-One, KRS-One, KRS-One.
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.