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 Burundi and from Glasgow.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Portland and Mexico City.
I'm losing my edge to the art-school Johannesburg 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 spring reverb sounds with much patience.
I was there when Michael McDonald 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 Jesus and Mary Chain to the jazz kids.
I played it at the Astoria.
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 Robert Hood. All the underground hits.
All John Holt tracks. I heard you have a vinyl of every Tears for Fears record on German import.
I heard that you have a white label of every seminal disco 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 a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Television Personalities record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Country Joe & The Fish,
The Doobie Brothers,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Magazine,
Jeru the Damaja,
Basic Channel,
Boogie Down Productions,
Morten Harket,
The Monks,
The Sonics,
The Toasters,
Cal Tjader,
Sexual Harrassment,
These Immortal Souls,
OOIOO,
Anthony Braxton,
Ralphi Rosario,
Iggy Pop,
Television,
Television Personalities,
Skarface,
the Human League,
Radio Birdman,
Oppenheimer Analysis,
Harpers Bizarre,
Flash Fearless,
Kings Of Tomorrow,
Glenn Branca,
New Order,
Amon Düül II,
Black Bananas,
Marshall Jefferson,
Aural Exciters,
The Royal Family And The Poor,
Dave Gahan,
Rapeman,
Judy Mowatt,
Harmonia,
Anakelly,
Kurtis Blow,
Hashim,
Glambeats Corp.,
Bill Wells,
Neil Young & Crazy Horse,
Qualms,
The Alarm Clocks,
Brand Nubian,
Lee Hazlewood,
Swans,
Bobby Womack,
Ludus,
The Detroit Cobras,
LL Cool J,
Kerri Chandler,
Joe Smooth,
The Invisible,
Jacob Miller,
De La Soul & Jungle Brothers,
Faust,
Lindisfarne,
Sound Behaviour,
The Neon Judgement,
China Crisis,
Unwound, Unwound, Unwound, Unwound.
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.