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 Morocco and from Shanghai.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Winnipeg and Manila.
I'm losing my edge to the art-school Halifax 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 1967 at the first Rodriguez practice in a loft in Detroit.
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 The Names to the rock kids.
I played it at the Hacienda.
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 X-101. All the underground hits.
All Negative Approach tracks. I heard you have a vinyl of every Lafayette Afro Rock Band record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The United States of America record.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Skatalites,
The Seeds,
The Gun Club,
Accadde A,
John Holt,
Lalo Schifrin,
Soul II Soul,
The Durutti Column,
DJ Style,
Roxette,
K-Klass,
The Moody Blues,
Ohio Players,
Schoolly D,
Notorious BIG live in Amsterdam,
Lightning Bolt,
Underground Resistance,
The Red Krayola,
Bobby Sherman,
Sun City Girls,
AZ,
James Chance & The Contortions,
Pylon,
The Selecter,
Avey Tare,
Bang on a Can All-Stars,
Marc Almond,
The Shadows of Knight,
a-ha,
Godley & Creme,
Röyhkä ja Rättö ja Lehtisalo,
The Sonics,
Carl Craig,
Kevin Saunderson,
Harry Pussy,
Kerri Chandler,
Aural Exciters,
The Smoke,
Unwound,
Rahsaan Roland Kirk,
The Kinks,
The Divine Comedy,
Fifty Foot Hose,
Deadbeat,
The Music Machine,
CMW,
Black Bananas,
Public Enemy,
Ornette Coleman,
The Victims,
Amon Düül II,
Flamin' Groovies,
The Motions,
Gregory Isaacs,
Harmonia,
Fluxion,
The Remains,
Joy Division,
Rapeman,
The Litter,
Anakelly,
Siouxsie and the Banshees,
Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra.
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.