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 Sierra Leone and from Bremen.
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 1969 to 1974.
I'm losing my edge.
To all the kids in London and Columbus.
I'm losing my edge to the art-school New York 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 Holger Czukay 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 Chocolate Watch Band to the dance kids.
I played it at the Astoria.
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 Slits. All the underground hits.
All Throbbing Gristle tracks. I heard you have a vinyl of every The Dead C 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 '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Sad Lovers and Giants record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skarface,
Franke,
Al Stewart,
Make Up,
Jerry's Kids,
Section 25,
Young Marble Giants,
Nirvana,
Gichy Dan,
Althea and Donna,
Half Japanese,
Juan Atkins,
Brick,
Bizarre Inc.,
The Blues Magoos,
Tom Boy,
James White and The Blacks,
H. Thieme,
Jerry Gold Smith,
Reagan Youth,
Eve St. Jones,
Josef K,
Scratch Acid,
Richard Hell and the Voidoids,
Marc Almond,
The Sound,
The Peanut Butter Conspiracy,
Fugazi,
Flash Fearless,
Jesper Dahlbäck,
the Germs,
Bill Near,
Fort Wilson Riot,
Minor Threat,
Marcia Griffiths,
The Offenders,
Magazine,
The Pop Group,
Average White Band,
The Saints,
Rhythm & Sound,
Panda Bear,
Procol Harum,
Bang on a Can All-Stars,
Byron Stingily,
Grey Daturas,
Khruangbin,
Avey Tare,
Altered Images,
Sonny Sharrock,
Soul II Soul,
Amon Düül,
Moss Icon,
Fear,
Roxy Music,
Aswad,
Don Cherry,
Barclay James Harvest,
The Busters,
Eurythmics,
The Modern Lovers,
Kaleidoscope, Kaleidoscope, Kaleidoscope, Kaleidoscope.
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.