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 Pakistan and from Manila.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Halifax and Hong Kong.
I'm losing my edge to the art-school Paris 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the theremin 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 Deadbeat to the dance kids.
I played it at the Crocodile.
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 The Techniques. All the underground hits.
All Drive Like Jehu tracks. I heard you have a vinyl of every Ludus record on German import.
I heard that you have a white label of every seminal funk 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 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Man Parrish 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?
Parry Music,
Soulsonic Force,
Lou Reed & Metallica,
Audionom,
Boz Scaggs,
Bobby Womack,
Johnny Osbourne,
Arab on Radar,
The Kinks,
Throbbing Gristle,
The Mojo Men,
The Star Department,
Aaron Thompson,
Pharoah Sanders,
EPMD,
Lee Hazlewood,
David Axelrod,
Sarah Menescal,
Pharaoh Sanders and the Fire Engines,
Ronan,
Reuben Wilson,
Lyres,
Brothers Johnson,
Motorama,
The Cowsills,
The Fire Engines,
Adolescents,
Siouxsie and the Banshees,
Au Pairs,
Harmonia,
Pere Ubu,
La Düsseldorf,
Don Cherry,
The Zeros,
Yazoo,
Basic Channel,
Cybotron,
The Doors,
The Last Poets,
Sun City Girls,
Radiohead,
Scratch Acid,
Television Personalities,
Wings,
Niagra,
Angry Samoans,
Boredoms,
Drexciya,
Los Fastidios,
Chris & Cosey,
The Beau Brummels,
Pulsallama,
Gang Green,
The West Coast Pop Art Experimental Band,
Scan 7,
The Vogues,
Q65,
Eli Mardock,
Cal Tjader,
Mission of Burma,
New Age Steppers,
Kurtis Blow,
Donny Hathaway,
Icehouse, Icehouse, Icehouse, Icehouse.
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.