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 Hungary and from Madrid.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Tehran and Lyon.
I'm losing my edge to the art-school Copenhagen 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 mellotron 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 The Associates to the electroclash kids.
I played it at CBGB's.
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 Kinks. All the underground hits.
All Bush Tetras tracks. I heard you have a vinyl of every Gregory Isaacs record on German import.
I heard that you have a white label of every seminal electroclash 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 güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Bush Tetras record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Metal Thangz,
Kango’s Stein Massive,
Jeff Lynne,
Joe Finger,
Make Up,
The Jesus and Mary Chain,
Crime,
Roxy Music,
Camron Feat. Memphis Bleek And Beenie Seigel,
Lou Reed & Metallica,
Sparks,
Fifty Foot Hose,
Thompson Twins,
Grandmaster Flash,
The Moleskins,
The Victims,
Surgeon,
Half Japanese,
Unrelated Segments,
Television,
Deadbeat,
Pet Shop Boys,
Pantytec,
Gian Franco Pienzio,
Saccharine Trust,
Aloha Tigers,
The Smoke,
The Dirtbombs,
The Wake,
Porter Ricks,
The Fugs,
Laurel Aitken,
Max Romeo,
Echospace,
Dorothy Ashby,
Henry Cow,
Mandrill,
Warsaw,
Joensuu 1685,
Absolute Body Control,
F. McDonald,
Pantaleimon,
Big Daddy Kane,
Moby Grape,
The Real Kids,
Andrew Hill,
Quantec,
Public Image Ltd.,
Archie Shepp,
Sixth Finger,
Bill Wells,
Dr. Dre and Snoop Doggy Dog,
David Bowie,
The Techniques,
Young Marble Giants,
Rod Modell,
Gil Scott-Heron & Brian Jackson,
James White and The Blacks,
The Searchers,
Pylon,
the Association,
Kurtis Blow,
The Cosmic Jokers, The Cosmic Jokers, The Cosmic Jokers, The Cosmic Jokers.
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.