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 Ukraine and from New York.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Tokyo and Copenhagen.
I'm losing my edge to the art-school Houston 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 synthesizer 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 T.S.O.L. to the grime kids.
I played it at the Roxy.
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 Vladislav Delay. All the underground hits.
All John Cale tracks. I heard you have a vinyl of every Boredoms record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a 808 and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Bob Dylan record.
I hear that you and your band have sold your theremin and bought a 808.
I hear that you and your band have sold your 808 and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Sherman,
Saccharine Trust,
Laurel Aitken,
Freddie Wadling,
Spandau Ballet,
Kango’s Stein Massive,
Pharaoh Sanders and the Fire Engines,
Fort Wilson Riot,
The Remains,
Captain Beefheart & His Magic Band,
Sixth Finger,
The Raincoats,
Glambeats Corp.,
Anakelly,
Kenny Larkin,
R.M.O.,
Black Moon,
Howard Jones,
The Human League,
Peter and Kerry,
Eric B and Rakim,
Thinking Fellers Union Local 282,
Warsaw,
Charles Mingus,
Minnie Riperton,
The Fuzztones,
Sad Lovers and Giants,
Alison Limerick,
Barry Ungar,
Oblivians,
Icehouse,
The Offenders,
Jacques Brel,
Andrew Ashong & Theo Parrish,
Michelle Simonal,
Joey Negro,
Tommy Roe,
Eden Ahbez,
Al Stewart,
Roxette,
Blossom Toes,
Interpol,
The Buckinghams,
Oneida,
The Litter,
Siglo XX,
Mark Hollis,
The Happenings,
Dead Boys,
Whodini,
Aswad,
Hardrive,
Godley & Creme,
Jesper Dahlback,
Eddi Front,
Bootsy's Rubber Band,
Neil Young & Crazy Horse,
Robert Wyatt,
Agitation Free,
Avey Tare's Slasher Flicks,
Wasted Youth,
Gregory Isaacs,
Scrapy,
Josef K,
Nirvana, Nirvana, Nirvana, Nirvana.
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.