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 Estonia and from Hong Kong.
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 1979.
I'm losing my edge.
To all the kids in Lagos and Mumbai.
I'm losing my edge to the art-school Portland 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 güiro sounds with much patience.
I was there when Lou Reed 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 Sarah Menescal to the rock kids.
I played it at the Troubador.
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 Smog. All the underground hits.
All The Motions tracks. I heard you have a vinyl of every Crash Course in Science record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Selector Dub Narcotic record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Glambeats Corp.,
Neu!,
Sex Pistols,
Marshall Jefferson,
Gian Franco Pienzio,
Laurel Aitken,
Interpol,
Swans,
Fugazi,
Gastr Del Sol,
the Human League,
Johnny Osbourne,
Siouxsie and the Banshees,
Aural Exciters,
Maurizio,
Sun Ra Arkestra,
Suicide,
Warsaw,
Arthur Verocai,
Tom Boy,
Vaughan Mason & Crew,
Nick Cave & The Bad Seeds,
The Slits,
Whodini,
The Dirtbombs,
Wolf Eyes,
Neil Young,
Amon Düül II,
Hashim,
Hasil Adkins,
the Swans,
Thinking Fellers Union Local 282,
Super Lover Cee & Casanova Rud,
Nico,
Bob Dylan,
Erasure,
Jerry's Kids,
Louis and Bebe Barron,
Depeche Mode,
The Stooges,
These Immortal Souls,
Sexual Harrassment,
A Flock of Seagulls,
The Cramps,
Richard Hell and the Voidoids,
Hardrive,
La Düsseldorf,
Spoonie Gee,
Rod Modell,
Agitation Free,
The Human League,
Mo-Dettes,
Television,
Sandy B,
Tim Buckley,
Ponytail,
Lebanon Hanover,
Fela Kuti,
The Barracudas,
Main Source,
Pharoah Sanders,
Marmalade, Marmalade, Marmalade, Marmalade.
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.