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 Sweden and from Spokane.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Tokyo and Columbus.
I'm losing my edge to the art-school Taipei 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 snare 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 Royal Trux to the rap 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 Lalann. All the underground hits.
All Wings tracks. I heard you have a vinyl of every Public Enemy 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 an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Babytalk record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Richard Hell and the Voidoids,
Can,
Wasted Youth,
Cymande,
Pere Ubu,
Slave,
Vainqueur,
H. Thieme,
Quando Quango,
Agitation Free,
Crispy Ambulance,
Be Bop Deluxe,
Lou Reed,
Sister Nancy,
These Immortal Souls,
Deutsch Amerikanische Freundschaft,
Pole,
Brass Construction,
LL Cool J,
Loose Ends,
The Blackbyrds,
Michelle Simonal,
Davy DMX,
The Angels of Light,
Eurythmics,
Ludus,
Spandau Ballet,
The Stooges,
John Coltrane,
Banda Bassotti,
Bootsy's Rubber Band,
The Index,
U.S. Maple,
The Techniques,
Porter Ricks,
Eddi Front,
ABC,
Oppenheimer Analysis,
Deakin,
Monks,
Half Japanese,
The Star Department,
the Soft Cell,
Hashim,
Ken Boothe,
Terry Callier,
Electric Prunes,
Lalo Schifrin,
The Birthday Party,
Boz Scaggs,
Tears for Fears,
Jeff Lynne,
Byron Stingily,
Lizzy Mercier Descloux,
Deepchord,
The Standells,
The Music Machine,
Surgeon,
DeepChord presents Echospace,
the Human League,
Gang Starr,
Procol Harum, Procol Harum, Procol Harum, Procol Harum.
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.