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 Czech Republic and from Milan.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Jakarta and Taipei.
I'm losing my edge to the art-school Lyon 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 James White and The Blacks to the funk 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 Urselle. All the underground hits.
All The Red Krayola tracks. I heard you have a vinyl of every Sam Rivers record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a theremin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Standells record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lucky Dragons,
Vainqueur,
Robert Hood,
Lonnie Liston Smith,
Joyce Sims,
Lungfish,
Crash Course in Science,
Shuggie Otis,
Spandau Ballet,
The Raincoats,
Donald Byrd,
Kool G Rap & DJ Polo,
DeepChord presents Echospace,
Rosa Yemen,
Eric Copeland,
Easy Going,
It's A Beautiful Day,
Anthony Braxton,
The Real Kids,
F. McDonald,
Ronnie Foster,
The Evens,
Sly & The Family Stone,
Pharoah Sanders,
Surgeon,
The Move,
Derrick May,
David Axelrod,
Wolf Eyes,
The Modern Lovers,
Henry Cow,
La Düsseldorf,
The Human League,
Sticky Fingaz feat. Raekwon,
Andrew Hill,
Symarip,
Second Layer,
Jimmy McGriff,
Angry Samoans,
Fort Wilson Riot,
Monks,
Sugar Minott,
Grauzone,
Art Ensemble Of Chicago,
Gian Franco Pienzio,
X-102,
Gil Scott Heron,
The Fugs,
The Royal Family And The Poor,
Los Fastidios,
Y Pants,
Spoonie Gee,
Boogie Down Productions,
CMW,
The Young Rascals,
Deadbeat,
Masters at Work,
Pantaleimon,
Desert Stars,
Saccharine Trust,
Mars, Mars, Mars, Mars.
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.