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 Monaco and from Jakarta.
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 1970.
I'm losing my edge.
To all the kids in Tehran and Paris.
I'm losing my edge to the art-school Toronto 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the guitar 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 Rapeman 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 Nas. All the underground hits.
All Urselle tracks. I heard you have a vinyl of every the Normal record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Boredoms record.
I hear that you and your band have sold your marimba and bought a guitar.
I hear that you and your band have sold your guitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cure,
Mary Jane Girls,
Sad Lovers and Giants,
Ken Boothe,
Todd Rundgren,
Black Moon,
Deadbeat,
Nick Fraelich,
Johnny Osbourne,
Cheater Slicks,
Trumans Water,
Johnny Clarke,
Steve Hackett,
Shuggie Otis,
Nas,
Minor Threat,
The Slackers,
Angry Samoans,
It's A Beautiful Day,
Dual Sessions,
Eyeless In Gaza,
Rod Modell,
Tom Boy,
Zapp,
Big Daddy Kane,
Symarip,
Hasil Adkins,
Fugazi,
The Litter,
The Evens,
Bobby Hutcherson,
Faraquet,
Avey Tare's Slasher Flicks,
The Pretty Things,
James Chance & The Contortions,
Joy Division,
Jeru the Damaja,
Peter Gordon & Love of Life Orchestra,
Sun Ra,
the Slits,
Section 25,
Ronnie Foster,
Rotary Connection,
James White and The Blacks,
Erykah Badu,
Terry Callier,
Isaac Hayes,
Deakin,
Pierre Henry,
JFA,
Blossom Toes,
The Motions,
Cameo,
Juan Atkins,
The Flesh Eaters,
Reuben Wilson,
Sister Nancy,
Ponytail,
Be Bop Deluxe,
These Immortal Souls,
The Sonics,
Joensuu 1685,
Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio.
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.