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 Liechtenstein 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 1966 to 1975.
I'm losing my edge.
To all the kids in Accra and London.
I'm losing my edge to the art-school Paris 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 Feelies practice in a loft in Haledon.
I was working on the synthesizer 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 Mantronix to the rap 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 The Five Americans. All the underground hits.
All Accadde A tracks. I heard you have a vinyl of every The Trojans record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Minnie Riperton record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
R.M.O.,
Robert Görl,
John Holt,
Chris & Cosey,
Sarah Menescal,
Nation of Ulysses,
The Buckinghams,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Babytalk,
World's Most,
Mandrill,
Grey Daturas,
The Durutti Column,
In Retrospect,
Organ,
Loose Ends,
Boz Scaggs,
Minutemen,
The Busters,
Urselle,
the Association,
The Human League,
Deakin,
Kas Product,
Richard Hell and the Voidoids,
Larry & the Blue Notes,
Neil Young,
Crooked Eye,
Newcleus,
Peter Gordon & Love of Life Orchestra,
T.S.O.L.,
Rowland S Howard / Lydia Lunch,
Shuggie Otis,
Rakim,
Crispian St. Peters,
Traffic Nightmare,
Vladislav Delay,
Tears for Fears,
Andrew Hill,
Deadbeat,
Aswad,
Inner City,
The Gun Club,
Eve St. Jones,
The Monochrome Set,
The Detroit Cobras,
Kerri Chandler,
The Standells,
Darondo,
Piero Umiliani,
Jesper Dahlback,
Strawberry Alarm Clock,
Notorious Big And Bone Thugs,
Unwound,
Gary Puckett & The Union Gap,
Arab on Radar,
Harmonia,
Ultramagnetic MC's,
Lee Hazlewood,
Das Ding,
Wire,
Maurizio,
Gastr Del Sol, Gastr Del Sol, Gastr Del Sol, Gastr Del Sol.
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.