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 Uruguay and from Lille.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Cairo and Seoul.
I'm losing my edge to the art-school Winnipeg 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 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 Derrick Morgan to the grunge 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 Can. All the underground hits.
All Sarah Menescal tracks. I heard you have a vinyl of every The J.B.'s 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 '60s cut and another box set from the '80s.
I hear you're buying an oboe and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siglo XX,
Scientists,
John Lydon,
Black Pus,
Moebius,
Surgeon,
Sexual Harrassment,
Rowland S Howard / Lydia Lunch,
The Fire Engines,
Intrusion,
Zapp,
Main Source,
Sticky Fingaz feat. Raekwon,
Dark Day,
Buzzcocks,
Country Teasers,
Kaleidoscope,
The Buckinghams,
Desert Stars,
Thinking Fellers Union Local 282,
Soulsonic Force,
Soft Machine,
Johnny Osbourne,
Ronnie Foster,
Pierre Henry,
Avey Tare's Slasher Flicks,
Bootsy Collins,
The Flesh Eaters,
Tim Buckley,
Brick,
Agent Orange,
The Vogues,
Absolute Body Control,
Sam Rivers,
Throbbing Gristle,
Pere Ubu,
Derrick May,
Sex Pistols,
Michelle Simonal,
Magazine,
The Pop Group,
Mandrill,
Aswad,
Avey Tare & Kría Brekkan,
Public Enemy,
Scratch Acid,
Yazoo,
The Associates,
Yellowson,
The Standells,
Be Bop Deluxe,
Glambeats Corp.,
Oblivians,
Chrome,
Harpers Bizarre,
Rhythm & Sound,
The Cramps,
Jerry Gold Smith,
Television Personalities,
Funkadelic,
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.