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 Iraq and from Columbus.
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 1978.
I'm losing my edge.
To all the kids in Tokyo and Mexico City.
I'm losing my edge to the art-school Delhi 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 1973 at the first Television practice in a loft in New York.
I was working on the sitar 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 Fatback Band to the electroclash kids.
I played it at Cafe Wha.
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 Swell Maps. All the underground hits.
All Heavy D & The Boyz tracks. I heard you have a vinyl of every Harmonia record on German import.
I heard that you have a white label of every seminal jazz 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 synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Au Pairs record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dr. Dre and Snoop Doggy Dog,
Röyhkä ja Rättö ja Lehtisalo,
Gian Franco Pienzio,
Flamin' Groovies,
Jacques Brel,
Crooked Eye,
Heavy D & The Boyz,
Zapp,
Harry Pussy,
Nico,
Lalann,
The Sound,
Orchestral Manoeuvres in the Dark,
A Flock of Seagulls,
Chrome,
The Angels of Light,
AZ,
Lonnie Liston Smith,
Technova,
Black Bananas,
Selector Dub Narcotic,
Angry Samoans,
Infiniti,
Sandy B,
Tom Boy,
The Royal Family And The Poor,
Sonny Sharrock,
The Offenders,
Amon Düül,
Larry & the Blue Notes,
F. McDonald,
The Seeds,
Graham Central Station,
Q and Not U,
Slick Rick,
Faraquet,
June of 44,
Siouxsie and the Banshees,
Agent Orange,
Man Eating Sloth,
Patti Smith,
Grandmaster Flash,
Glenn Branca,
Nick Fraelich,
Tommy Roe,
Janne Schatter,
Eli Mardock,
Erasure,
Dark Day,
The Neon Judgement,
The Electric Prunes,
Camouflage,
Judy Mowatt,
David Bowie,
Crispy Ambulance,
Liaisons Dangereuses,
One Last Wish,
Bill Wells,
Mark Hollis,
Kango’s Stein Massive,
Vladislav Delay,
Spandau Ballet,
Subhumans,
Ken Boothe, Ken Boothe, Ken Boothe, Ken Boothe.
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.