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 Philippines and from Hong Kong.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1970.
I'm losing my edge.
To all the kids in Winnipeg and Tokyo.
I'm losing my edge to the art-school Woodstock 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 organ sounds with much patience.
I was there when Michael McDonald 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 The Shadows of Knight to the disco kids.
I played it at the Hacienda.
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 Traffic Nightmare. All the underground hits.
All Terror Squad Feat. Camron tracks. I heard you have a vinyl of every EPMD record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a marimba and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your sitar and bought a snare.
I hear that you and your band have sold your snare and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jerry's Kids,
Roy Ayers,
48th St. Collective,
The Monochrome Set,
Alison Limerick,
Erasure,
The Flesh Eaters,
The Sonics,
Colin Newman,
Aural Exciters,
Circle Jerks,
Ajijia Myrayebe,
Television Personalities,
Siglo XX,
Yellowson,
Moss Icon,
Ultravox,
The Men They Couldn't Hang,
Half Japanese,
Albert Ayler,
the Association,
Art Ensemble Of Chicago,
Ronan,
Ultra Naté,
Amon Düül II,
La Düsseldorf,
the Slits,
Pantaleimon,
FM Einheit,
Newcleus,
Wire,
Eden Ahbez,
Black Bananas,
Pulsallama,
Josef K,
Minnie Riperton,
Godley & Creme,
Neil Young & Crazy Horse,
Visage,
Kas Product,
The Electric Prunes,
The Zeros,
Laurel Aitken,
Saccharine Trust,
Accadde A,
Rahsaan Roland Kirk,
EPMD,
Lafayette Afro Rock Band,
Super Lover Cee & Casanova Rud,
Q65,
Louis and Bebe Barron,
DNA,
Slave,
Harpers Bizarre,
The Fortunes,
Nirvana,
Scientists,
Parry Music,
Lindisfarne,
Peter and Kerry, Peter and Kerry, Peter and Kerry, Peter and Kerry.
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.