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 Niger and from Portland.
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 1960 to 1979.
I'm losing my edge.
To all the kids in New York and Woodstock.
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 1973 at the first Television practice in a loft in New York.
I was working on the guitar sounds with much patience.
I was there when Robert Palmer 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 Niagra to the crunk 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 Patti Smith. All the underground hits.
All Moby Grape tracks. I heard you have a vinyl of every Country Teasers 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 '80s cut and another box set from the '90s.
I hear you're buying a clarinet and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Bang On A Can record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Loose Ends,
Aaron Thompson,
The Invisible,
Y Pants,
Art Ensemble Of Chicago,
Hoover,
James White and The Blacks,
Pole,
Graham Central Station,
Barrington Levy,
Jacob Miller,
Marc Romboy vs. Booka Shade,
D'Angelo,
Kas Product,
Fad Gadget,
Sonic Youth,
Suicide,
Essential Logic,
Joensuu 1685,
Strawberry Alarm Clock,
Joyce Sims,
Dual Sessions,
Organ,
Alice Coltrane,
Slick Rick,
Letta Mbulu,
Icehouse,
Boz Scaggs,
Bob Dylan,
The Gun Club,
The Neon Judgement,
The Cure,
Severed Heads,
a-ha,
DNA,
Ultramagnetic MC's,
Big Daddy Kane,
The Detroit Cobras,
Quadrant,
Agitation Free,
The Pretty Things,
Stiv Bators,
Pere Ubu,
The Fuzztones,
The Buckinghams,
Flipper,
Curtis Mayfield,
Echospace,
Tomorrow,
Sad Lovers and Giants,
Goldenarms,
Black Moon,
Ken Boothe,
Roxy Music,
R.M.O.,
Leonard Cohen,
Newcleus,
Gang Starr,
The Smiths,
Silicon Teens,
Nico,
Jandek,
Model 500,
Eurythmics, Eurythmics, Eurythmics, Eurythmics.
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.