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 Lebanon and from Tokyo.
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 Paris and Tehran.
I'm losing my edge to the art-school Tokyo 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 1977 at the first Mistral practice in a loft in Amsterdam.
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 Patti Smith to the techno kids.
I played it at Trash.
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 Pop Group. All the underground hits.
All The Gap Band tracks. I heard you have a vinyl of every Robert Görl record on German import.
I heard that you have a white label of every seminal grunge 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 marimba and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Crime record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lightning Bolt,
Public Enemy,
The Beau Brummels,
Dawn Penn,
The Seeds,
Orchestral Manoeuvres in the Dark,
Clear Light,
The Remains,
Delta 5,
Scott Walker,
Big Daddy Kane,
Jeff Lynne,
Dennis Brown,
Alison Limerick,
Cal Tjader,
The Gap Band,
Television,
Soulsonic Force,
In Retrospect,
Jimmy McGriff,
June of 44,
Scientists,
Gang Starr,
Swans,
The New Christs,
Barclay James Harvest,
Adolescents,
Be Bop Deluxe,
Mad Mike,
Ossler,
Marmalade,
Justin Hinds & The Dominoes,
Dave Gahan,
the Association,
Motorama,
Notorious BIG live in Amsterdam,
Sun City Girls,
Sixth Finger,
Ten City,
Lonnie Liston Smith,
Can,
Rites of Spring,
Gastr Del Sol,
Super Lover Cee & Casanova Rud,
Art Ensemble Of Chicago,
Eve St. Jones,
Teenage Jesus and the Jerks,
Bobby Sherman,
Drive Like Jehu,
A Certain Ratio,
Country Teasers,
The Raincoats,
the Fania All-Stars,
The Human League,
Laurel Aitken,
Cameo,
Yaz,
Terry Callier,
Soft Cell, Soft Cell, Soft Cell, Soft Cell.
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.