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 Vietnam and from Milan.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Copenhagen and Manchester.
I'm losing my edge to the art-school Tokyo 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 rhodes sounds with much patience.
I was there when Lou Reed 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 Divine Comedy to the electroclash kids.
I played it at the Troubador.
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 Toni Rubio. All the underground hits.
All Gian Franco Pienzio tracks. I heard you have a vinyl of every Rowland S Howard / Lydia Lunch record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a snare and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Anthony Braxton record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stiv Bators,
Cybotron,
It's A Beautiful Day,
Faraquet,
New Order,
Siglo XX,
Supertramp,
The Slackers,
In Retrospect,
Bluetip,
Popol Vuh,
Slick Rick,
Alison Limerick,
Ohio Players,
Fear,
Von Mondo,
Fifty Foot Hose,
Radiohead,
Ralphi Rosario,
Lou Reed & John Cale,
Bang on a Can All-Stars,
D'Angelo,
Marc Romboy vs. Booka Shade,
Major Organ And The Adding Machine,
the Human League,
Gastr Del Sol,
The Standells,
The Men They Couldn't Hang,
Severed Heads,
Eric Dolphy,
the Sonics,
Dual Sessions,
Lizzy Mercier Descloux,
CMW,
Dr. Dre and Snoop Doggy Dog,
Hardrive,
Janne Schatter,
Ossler,
Depeche Mode,
Sexual Harrassment,
The Blues Magoos,
Con Funk Shun,
Q65,
Sandy B,
Mandrill,
Jesper Dahlback,
Rosa Yemen,
Liaisons Dangereuses,
The Shadows of Knight,
Goldenarms,
Franke,
Nils Olav,
Inner City,
Barry Ungar,
AZ,
Rakim,
Television Personalities,
A Flock of Seagulls,
OOIOO,
Ash Ra Tempel,
Animal Collective,
Nick Cave & The Bad Seeds,
Nas, Nas, Nas, Nas.
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.