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 Chile and from Lagos.
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 1973.
I'm losing my edge.
To all the kids in Johannesburg and Shanghai.
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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the synthesizer sounds with much patience.
I was there when Captain Beefheart 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 Swans to the rock kids.
I played it at Trash.
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 Index. All the underground hits.
All Mad Mike tracks. I heard you have a vinyl of every Jawbox 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 '80s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a a-ha record.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Parry Music,
Intrusion,
Joensuu 1685,
Graham Central Station,
Bauhaus,
Deepchord,
Grey Daturas,
The Electric Prunes,
Isaac Hayes,
Black Moon,
X-102,
X-101,
Ohio Players,
The Fall,
H. Thieme,
the Sonics,
Traffic Nightmare,
Skaos,
Juan Atkins,
Pylon,
Super Lover Cee & Casanova Rud,
Peter Gordon & Love of Life Orchestra,
Shoche,
Animal Collective,
The Move,
Main Source,
Derrick May,
Eurythmics,
Spandau Ballet,
Fear,
Mandrill,
Loose Ends,
Q65,
The Techniques,
Marmalade,
R.M.O.,
Bad Manners,
Smog,
The United States of America,
Drive Like Jehu,
Reuben Wilson,
Theoretical Girls,
Gang of Four,
Donald Byrd,
The Vogues,
Lebanon Hanover,
Toni Rubio,
Ultimate Spinach,
Vainqueur,
Slave,
Joyce Sims,
Gian Franco Pienzio,
Basic Channel,
Fela Kuti,
Aswad,
Arab on Radar,
The Gun Club,
Gabor Szabo,
Grandmaster Flash,
The Offenders,
Blancmange, Blancmange, Blancmange, Blancmange.
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.