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 Austria and from Lagos.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1972.
I'm losing my edge.
To all the kids in Lille and Paris.
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 spring reverb 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 Eli Mardock to the grime 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 Minutemen. All the underground hits.
All Ornette Coleman tracks. I heard you have a vinyl of every Bootsy Collins record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Niagra record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slave,
Liliput,
The Gap Band,
Bauhaus,
Dead Boys,
Theoretical Girls,
Gastr Del Sol,
Y Pants,
Mark Hollis,
One Last Wish,
Jacob Miller,
the Sonics,
Dave Gahan,
Nas,
Pole,
Heaven 17,
Quantec,
Vainqueur,
The American Breed,
Make Up,
Mission of Burma,
Kenny Larkin,
Iggy Pop,
The Move,
Animal Collective,
Kas Product,
Siouxsie and the Banshees,
ABBA,
Roy Ayers,
Albert Ayler,
Newcleus,
A Flock of Seagulls,
Outsiders,
KRS-One,
Nirvana,
Pagans,
Major Organ And The Adding Machine,
The Smiths,
The New Christs,
The Beau Brummels,
Donald Byrd,
Drive Like Jehu,
Shuggie Otis,
Minutemen,
Second Layer,
Subhumans,
Faust,
Zapp,
Avey Tare,
Alphaville,
Donny Hathaway,
F. McDonald,
Harmonia,
Patti Smith,
The Golliwogs,
Ponytail,
The Searchers,
Banda Bassotti,
Larry & the Blue Notes,
T. Rex,
The Cure, The Cure, The Cure, The Cure.
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.