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 El Salvador and from Copenhagen.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Seoul and Hong Kong.
I'm losing my edge to the art-school Hong Kong 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 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 The Cosmic Jokers to the rap kids.
I played it at the Spitz.
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 Procol Harum. All the underground hits.
All Popol Vuh tracks. I heard you have a vinyl of every The Count Five record on German import.
I heard that you have a white label of every seminal punk 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 chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Prince Buster record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott Heron,
Spandau Ballet,
DeepChord presents Echospace,
Wolf Eyes,
The Chocolate Watch Band,
Jandek,
Scott Walker,
Sixth Finger,
Delta 5,
Simply Red,
Big Daddy Kane,
Accadde A,
Gang Green,
David Axelrod,
Severed Heads,
The Monochrome Set,
Al Stewart,
cv313,
Todd Terry,
Eden Ahbez,
Siglo XX,
The Remains,
Lower 48,
CMW,
Rhythim Is Rhythim,
Crispian St. Peters,
The West Coast Pop Art Experimental Band,
The Victims,
Minnie Riperton,
Minny Pops,
Tom Boy,
Eurythmics,
Fugazi,
Depeche Mode,
Kerrie Biddell,
Cameo,
Monks,
UT,
The Music Machine,
Michelle Simonal,
Orchestral Manoeuvres in the Dark,
New Age Steppers,
Neil Young & Crazy Horse,
The Blues Magoos,
R.M.O.,
the Swans,
Iggy Pop,
The Names,
Scott Walker + Sunn O))),
X-Ray Spex,
Unwound,
Chris & Cosey,
The Fugs,
The Electric Prunes,
Arab on Radar,
F. McDonald,
Mr. Review,
Scratch Acid,
Sun City Girls,
Roy Ayers Ubiquity,
Nik Kershaw,
Aural Exciters,
The Cramps, The Cramps, The Cramps, The Cramps.
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.