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 Tuvalu and from Hong Kong.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Calgary and Manila.
I'm losing my edge to the art-school Calgary 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 Wire practice in a loft in Watford.
I was working on the chamberlin 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 Jeff Mills to the jazz kids.
I played it at the Roxy.
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 Deakin. All the underground hits.
All Nick Fraelich tracks. I heard you have a vinyl of every Whodini 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 '70s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Alison Limerick record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Dirtbombs,
Bauhaus,
Peter Gordon & Love of Life Orchestra,
Oneida,
Pete Rock & C.L. Smooth,
UT,
The Velvet Underground,
Mary Jane Girls,
Jesper Dahlback,
The Smiths,
Thinking Fellers Union Local 282,
The Misunderstood,
Blake Baxter,
It's A Beautiful Day,
Rapeman,
Wire,
Joensuu 1685,
Fugazi,
The Names,
The Chocolate Watch Band,
D'Angelo,
the Association,
Bill Near,
X-102,
Notorious Big And Bone Thugs,
James White and The Blacks,
Rosa Yemen,
The Slackers,
Magazine,
The Pop Group,
FM Einheit,
Procol Harum,
Roxette,
Yaz,
Bang on a Can All-Stars,
Jerry Gold Smith,
Ice-T,
B.T. Express,
Black Moon,
Newcleus,
Anakelly,
Spoonie Gee,
the Swans,
Jimmy McGriff,
Youth Brigade,
Lou Reed & John Cale,
Bobby Byrd,
Crispian St. Peters,
Section 25,
Boredoms,
Richard Hell and the Voidoids,
Man Parrish,
This Heat,
Big Daddy Kane,
Marine Girls,
Brick,
Terror Squad Feat. Camron,
Cheater Slicks,
Radio Birdman,
Fluxion,
Godley & Creme,
China Crisis,
Tommy Roe, Tommy Roe, Tommy Roe, Tommy Roe.
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.