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 Saudi Arabia and from Edmonton.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Madrid and New York.
I'm losing my edge to the art-school Jakarta 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 1973 at the first Television practice in a loft in New York.
I was working on the sitar sounds with much patience.
I was there when Michael McDonald 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 Blackbyrds to the dance 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 Nick Fraelich. All the underground hits.
All FM Einheit tracks. I heard you have a vinyl of every Godley & Creme record on German import.
I heard that you have a white label of every seminal disco 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 spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Scott Walker record.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
H. Thieme,
Fugazi,
Pharaoh Sanders and the Fire Engines,
Brass Construction,
Terrestrial Tones,
Deutsch Amerikanische Freundschaft,
B.T. Express,
Boz Scaggs,
Pantytec,
Fifty Foot Hose,
AZ,
Buzzcocks,
Can,
Rod Modell,
Bauhaus,
JFA,
June of 44,
Liaisons Dangereuses,
Sight & Sound,
Lungfish,
Andrew Ashong & Theo Parrish,
Crash Course in Science,
Röyhkä ja Rättö ja Lehtisalo,
Deepchord,
Sly & The Family Stone,
Matthew Bourne,
the Germs,
Tim Buckley,
Rapeman,
Mars,
Monks,
The Fugs,
the Sonics,
Sandy B,
John Lydon,
Charles Mingus,
Sällskapet,
Echo & the Bunnymen,
Qualms,
Harpers Bizarre,
Agent Orange,
8 Eyed Spy,
Con Funk Shun,
Sun Ra,
Danielle Patucci,
Groovy Waters,
Ice-T,
Peter and Kerry,
U.S. Maple,
Pulsallama,
Simply Red,
Barclay James Harvest,
Tommy Roe,
Drive Like Jehu,
Thee Headcoats,
London Community Gospel Choir,
Depeche Mode,
The Sonics,
Archie Shepp,
Public Enemy,
Neil Young,
The Move,
Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza.
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.