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 Australia and from Columbus.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1972.
I'm losing my edge.
To all the kids in Salvador and Woodstock.
I'm losing my edge to the art-school Tehran 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 güiro 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 David Bowie to the punk 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 Pussy Galore. All the underground hits.
All The Cowsills tracks. I heard you have a vinyl of every Accadde A record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Gong 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?
Janne Schatter,
Liaisons Dangereuses,
Ajijia Myrayebe,
Curtis Mayfield,
Jacob Miller,
Country Teasers,
The Pop Group,
Minny Pops,
Jacques Brel,
Thinking Fellers Union Local 282,
The Last Poets,
Eric Dolphy,
The Fugs,
The Slits,
Susan Cadogan,
Masters at Work,
The Names,
The Mojo Men,
Barclay James Harvest,
Essential Logic,
Boz Scaggs,
Vladislav Delay,
Rites of Spring,
The Selecter,
Patti Smith,
John Holt,
The Electric Prunes,
The Velvet Underground,
Johnny Clarke,
Moebius,
The New Christs,
Rod Modell,
La Düsseldorf,
Rekid,
Los Fastidios,
Röyhkä ja Rättö ja Lehtisalo,
Blancmange,
Michelle Simonal,
Donny Hathaway,
Swans,
Electric Prunes,
Juan Atkins,
It's A Beautiful Day,
Bauhaus,
Dark Day,
The Alarm Clocks,
Young Marble Giants,
Dennis Brown,
Avey Tare,
Radiohead,
James Chance & The Contortions,
R.M.O.,
The Standells,
Interpol,
The Litter,
Mad Mike,
Fort Wilson Riot,
Brand Nubian,
Sun Ra,
Can, Can, Can, Can.
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.