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 Ethiopia and from Seoul.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1973.
I'm losing my edge.
To all the kids in Mexico City and Sao Paulo.
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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the theremin 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 Jeru the Damaja to the electroclash 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 Lee Hazlewood. All the underground hits.
All Terrestrial Tones tracks. I heard you have a vinyl of every Joe Smooth record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a güiro and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Wire record.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Image Ltd.,
Camberwell Now,
48th St. Collective,
Gian Franco Pienzio,
Junior Murvin,
Easy Going,
The Move,
Buzzcocks,
Sparks,
Ronnie Foster,
Gregory Isaacs,
Unwound,
Accadde A,
Circle Jerks,
The Fortunes,
Severed Heads,
The Evens,
Strawberry Alarm Clock,
Kool Moe Dee,
The Young Rascals,
Sixth Finger,
Kool G Rap & DJ Polo,
X-102,
Theoretical Girls,
Lucky Dragons,
Alison Limerick,
Deakin,
Scratch Acid,
Chris Corsano,
Blancmange,
Kenny Larkin,
The Gun Club,
Deutsch Amerikanische Freundschaft,
Kings Of Tomorrow,
T. Rex,
Letta Mbulu,
Interpol,
Iggy Pop,
Cheater Slicks,
The Associates,
Rotary Connection,
Surgeon,
Fort Wilson Riot,
Orchestral Manoeuvres in the Dark,
Black Moon,
Cluster,
Minnie Riperton,
The Names,
Hot Snakes,
Jimmy McGriff,
Los Fastidios,
Quando Quango,
DJ Style,
Flamin' Groovies,
Jacques Brel,
Tim Buckley,
Fat Boys,
Archie Shepp,
Model 500,
The Shadows of Knight,
The Durutti Column, The Durutti Column, The Durutti Column, The Durutti Column.
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.