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 South Africa 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 1978.
I'm losing my edge.
To all the kids in Shanghai and Milan.
I'm losing my edge to the art-school Sao Paulo 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 sitar 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 Alarm Clocks to the electroclash kids.
I played it at Trash.
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 New York Dolls. All the underground hits.
All The Last Poets tracks. I heard you have a vinyl of every Kool G Rap & DJ Polo 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 '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Country Teasers record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobbi Humphrey,
Unwound,
Flash Fearless,
Isaac Hayes,
The Evens,
Sandy B,
Cecil Taylor,
Boredoms,
Sound Behaviour,
Red Lorry Yellow Lorry,
Electric Prunes,
Ronnie Foster,
Young Marble Giants,
Suicide,
Mo-Dettes,
Soulsonic Force,
Bush Tetras,
Minutemen,
Mandrill,
The Associates,
T.S.O.L.,
Donald Byrd,
Nation of Ulysses,
the Human League,
Nirvana,
Lou Reed,
Altered Images,
Sparks,
John Coltrane,
Swans,
The Doors,
Interpol,
Thompson Twins,
Drive Like Jehu,
Rufus Thomas,
Pantytec,
Alice Coltrane,
Jesper Dahlback,
a-ha,
Rahsaan Roland Kirk,
Gichy Dan,
Nik Kershaw,
Be Bop Deluxe,
Nico,
Louis and Bebe Barron,
Matthew Bourne,
Black Sheep,
48th St. Collective,
The Slits,
The Flesh Eaters,
CMW,
The Neon Judgement,
The Count Five,
Half Japanese,
the Association,
Wighnomy Brothers & Robag Wruhme,
Zero Boys,
The Move,
Oneida,
Lucky Dragons, Lucky Dragons, Lucky Dragons, Lucky Dragons.
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.