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 Brazil and from Paris.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Stockholm and Sao Paulo.
I'm losing my edge to the art-school Manila 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 güiro 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 Freddie Wadling to the crunk kids.
I played it at the 40 Watt.
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 Velvet Underground. All the underground hits.
All Minnie Riperton tracks. I heard you have a vinyl of every Mary Jane Girls record on German import.
I heard that you have a white label of every seminal punk 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 an organ and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Symarip record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare's Slasher Flicks,
Alice Coltrane,
Ronan,
The Fortunes,
Gil Scott-Heron and Jamie xx,
K-Klass,
Aural Exciters,
New Age Steppers,
Kool Moe Dee,
The Sound,
Howard Jones,
The J.B.'s,
Robert Hood,
Model 500,
Sonic Youth,
Soul Sonic Force,
John Coltrane,
Davy DMX,
Erykah Badu,
Alton Ellis,
The Stooges,
Bizarre Inc.,
Lyres,
Lalann,
Leonard Cohen,
Throbbing Gristle,
Crispian St. Peters,
Angry Samoans,
Lebanon Hanover,
The Men They Couldn't Hang,
Mad Mike,
Hasil Adkins,
The Alarm Clocks,
The Divine Comedy,
Terry Callier,
UT,
Tom Boy,
Dual Sessions,
Avey Tare,
The Dave Clark Five,
The Litter,
The Barracudas,
The Buckinghams,
Cluster,
The Real Kids,
Fort Wilson Riot,
Moss Icon,
Pussy Galore,
Scratch Acid,
Pantaleimon,
Panda Bear,
Sparks,
Audionom,
AZ,
Scientists,
Brothers Johnson,
Todd Rundgren,
Mantronix,
Lower 48,
Ronnie Foster,
The American Breed, The American Breed, The American Breed, The American Breed.
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.