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 Senegal 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 1965 to 1976.
I'm losing my edge.
To all the kids in Tehran and Glasgow.
I'm losing my edge to the art-school Johannesburg 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 spring reverb 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 Barry Ungar to the jazz 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 The Fire Engines. All the underground hits.
All Symarip tracks. I heard you have a vinyl of every Matthew Bourne record on German import.
I heard that you have a white label of every seminal jazz 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 an arpeggiator and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Louis and Bebe Barron record.
I hear that you and your band have sold your rhodes and bought a sitar.
I hear that you and your band have sold your sitar and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bluetip,
New York Dolls,
Bush Tetras,
Hot Snakes,
Khruangbin,
Heaven 17,
Negative Approach,
Goldenarms,
Major Organ And The Adding Machine,
Kerri Chandler,
Kings Of Tomorrow,
Kango’s Stein Massive,
Fad Gadget,
John Coltrane,
Gerry Rafferty,
Josef K,
Captain Beefheart & His Magic Band,
The Moody Blues,
The Birthday Party,
Minnie Riperton,
Sexual Harrassment,
Loose Ends,
The Associates,
Boz Scaggs,
Inner City,
cv313,
Interpol,
Funky Four + One,
Dual Sessions,
Joyce Sims,
Mandrill,
The Move,
DNA,
Kas Product,
Angels of Light & Akron/Family,
Glenn Branca,
Fort Wilson Riot,
The Detroit Cobras,
Delon & Dalcan,
Dr. Dre and Snoop Doggy Dog,
Ten City,
Throbbing Gristle,
Nik Kershaw,
Deadbeat,
Youth Brigade,
Wings,
Aural Exciters,
The Stooges,
Reagan Youth,
Lee Hazlewood,
Notorious BIG live in Amsterdam,
Ornette Coleman,
Lebanon Hanover,
Ultravox,
Tomorrow,
The American Breed,
Severed Heads,
Bootsy's Rubber Band,
Nick Fraelich,
The Victims,
David Axelrod,
Kerrie Biddell,
Pylon,
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.