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 Papua New Guinea and from Manchester.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Salvador and Manchester.
I'm losing my edge to the art-school Bologna 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 1967 at the first Rodriguez practice in a loft in Detroit.
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 The Smoke to the crunk kids.
I played it at the Astoria.
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 Main Source. All the underground hits.
All Bizarre Inc. tracks. I heard you have a vinyl of every The Standells record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Techniques record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eyeless In Gaza,
Eric Copeland,
Scratch Acid,
Essential Logic,
Tommy Roe,
Bizarre Inc.,
The Residents,
Pharoah Sanders,
The Fortunes,
Black Bananas,
Magazine,
James White and The Blacks,
Amon Düül II,
Unwound,
Rosa Yemen,
Larry & the Blue Notes,
Crime,
Kauko Röyhkä ja Narttu,
Gang of Four,
Flipper,
T.S.O.L.,
Laurel Aitken,
The Techniques,
The Litter,
R.M.O.,
Infiniti,
Drexciya,
Technova,
Super Lover Cee & Casanova Rud,
Spoonie Gee,
Little Man,
Visionaries,LMNO, T- Love & Iriscience,
Ajijia Myrayebe,
Marc Almond,
Mandrill,
Be Bop Deluxe,
Nirvana,
The Invisible,
Jeff Lynne,
The Victims,
Dave Gahan,
Sad Lovers and Giants,
Swell Maps,
X-102,
Black Moon,
Echospace,
Cabaret Voltaire,
The Associates,
The Black Dice,
Peter and Kerry,
David McCallum,
MC5,
June of 44,
The Velvet Underground,
New Age Steppers,
Symarip,
Moss Icon,
Sound Behaviour,
Goldenarms,
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.