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 Milan.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Copenhagen and Delhi.
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 oboe 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 DNA to the jazz kids.
I played it at the Crocodile.
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 Crispian St. Peters. All the underground hits.
All Sight & Sound tracks. I heard you have a vinyl of every Accadde A record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James White and The Blacks,
Severed Heads,
Vladislav Delay,
The Jesus and Mary Chain,
The Monochrome Set,
Soul II Soul,
Tears for Fears,
The Modern Lovers,
Spoonie Gee,
Jandek,
The Motions,
Mad Mike,
Accadde A,
Danielle Patucci,
Ash Ra Tempel,
Avey Tare & Kría Brekkan,
Super Lover Cee & Casanova Rud,
the Human League,
The Seeds,
The Index,
Panda Bear,
The Velvet Underground,
Banda Bassotti,
Jawbox,
Glambeats Corp.,
Camouflage,
The Grass Roots,
Dorothy Ashby,
Glenn Branca,
Junior Murvin,
Can,
Byron Stingily,
Stockholm Monsters,
U.S. Maple,
Charles Mingus,
Hardrive,
L. Decosne,
Matthew Bourne,
F. McDonald,
Hasil Adkins,
ABC,
Siglo XX,
Urselle,
Skaos,
Pussy Galore,
Beasts of Bourbon,
Donny Hathaway,
Alton Ellis,
The American Breed,
Arcadia,
Robert Hood,
Boredoms,
Amon Düül II,
Gil Scott-Heron and Jamie xx,
8 Eyed Spy,
Babytalk,
Ossler,
The Neon Judgement,
Wire,
Kool Moe Dee,
Eddi Front,
Electric Light Orchestra,
The Standells,
The Victims, The Victims, The Victims, The Victims.
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.