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 Marshall Islands and from Sao Paulo.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Portland and Shanghai.
I'm losing my edge to the art-school Mumbai 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 808 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 Loose Ends to the techno kids.
I played it at CBGB's.
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 Fatback Band. All the underground hits.
All Ajijia Myrayebe tracks. I heard you have a vinyl of every Deutsch Amerikanische Freundschaft 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 snare and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Lafayette Afro Rock Band record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Dirtbombs,
Blossom Toes,
Lungfish,
AZ,
The Golliwogs,
Siouxsie and the Banshees,
Avey Tare & Kría Brekkan,
Fear,
Barrington Levy,
Average White Band,
Mantronix,
Camouflage,
Barclay James Harvest,
Jeff Lynne,
Eve St. Jones,
Amazonics,
Joe Smooth,
X-102,
The Count Five,
Blancmange,
Idris Muhammad,
Marc Romboy vs. Booka Shade,
Dawn Penn,
Quantec,
The Sonics,
Peter and Kerry,
Art Ensemble Of Chicago,
Sunsets and Hearts,
The Neon Judgement,
Circle Jerks,
Royal Trux,
Hashim,
Accadde A,
Vaughan Mason & Crew,
Kayak,
Minutemen,
Thompson Twins,
Gary Puckett & The Union Gap,
Avey Tare,
Arab on Radar,
Surgeon,
Excepter,
Make Up,
KRS-One,
Vladislav Delay,
Funky Four + One,
Bootsy's Rubber Band,
Bronski Beat,
E-Dancer,
Susan Cadogan,
Groovy Waters,
The Offenders,
48th St. Collective,
UT,
X-Ray Spex,
Young Marble Giants,
Black Moon,
Röyhkä ja Rättö ja Lehtisalo,
Henry Cow,
Magazine,
New York Dolls, New York Dolls, New York Dolls, New York Dolls.
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.