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 Bosnia Herzegovina and from Madrid.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Accra and Tehran.
I'm losing my edge to the art-school Lagos 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 arpeggiator 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 Scratch Acid 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 New York Dolls. All the underground hits.
All The Doors tracks. I heard you have a vinyl of every The Star Department record on German import.
I heard that you have a white label of every seminal electroclash 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 Malaria! record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Infiniti,
Lucky Dragons,
Mad Mike,
Excepter,
A Flock of Seagulls,
Sound Behaviour,
Basic Channel,
Hoover,
Ultimate Spinach,
Kool G Rap & DJ Polo,
De La Soul & Jungle Brothers,
Monolake,
Ossler,
Massinfluence,
Steve Hackett,
DeepChord presents Echospace,
T. Rex,
The Move,
Roy Ayers,
Maurizio,
Al Stewart,
The Men They Couldn't Hang,
Essential Logic,
Funky Four + One,
Cal Tjader,
Deepchord,
The Offenders,
Danielle Patucci,
DJ Sneak,
Royal Trux,
Reuben Wilson,
Lou Christie,
Jandek,
ABBA,
Groovy Waters,
Byron Stingily,
The Seeds,
The Raincoats,
Patti Smith,
Pagans,
Peter & Gordon,
Blancmange,
Pere Ubu,
Harry Pussy,
Slave,
Chrome,
Liaisons Dangereuses,
The Residents,
Section 25,
Dual Sessions,
Sad Lovers and Giants,
The Alarm Clocks,
Visage,
Ornette Coleman,
London Community Gospel Choir,
Circle Jerks,
The Monks,
Bob Dylan,
This Heat,
Brick,
Lightning Bolt,
June of 44,
Minnie Riperton, Minnie Riperton, Minnie Riperton, Minnie Riperton.
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.