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 Burundi and from New York.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Lagos and Jakarta.
I'm losing my edge to the art-school Milan 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the linndrum sounds with much patience.
I was there when Donald Fagen 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 Count Five to the dance kids.
I played it at the 40 Watt.
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 D'Angelo. All the underground hits.
All Fear tracks. I heard you have a vinyl of every The New Christs record on German import.
I heard that you have a white label of every seminal techno 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 spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Wire 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?
The Walker Brothers,
Soulsonic Force,
the Human League,
Idris Muhammad,
Cameo,
Alton Ellis,
The Star Department,
Janne Schatter,
Deepchord,
Sex Pistols,
Underground Resistance,
Scott Walker,
Howard Jones,
T.S.O.L.,
Robert Görl,
ABC,
Mantronix,
The Remains,
Funkadelic,
The Vogues,
Pierre Henry,
Jacques Brel,
Albert Ayler,
the Sonics,
Barry Ungar,
Rhythim Is Rhythim,
Wire,
The Alarm Clocks,
The Cowsills,
Lonnie Liston Smith,
John Foxx,
Joyce Sims,
Andrew Hill,
Simply Red,
The Sisters of Mercy,
Rites of Spring,
Black Flag,
Ornette Coleman,
Basic Channel,
Selector Dub Narcotic,
Magazine,
Marshall Jefferson,
Youth Brigade,
Dorothy Ashby,
Pharaoh Sanders and the Fire Engines,
Shoche,
Heaven 17,
Kenny Larkin,
Sight & Sound,
Ultra Naté,
X-101,
Lou Reed,
Skarface,
Mo-Dettes,
Lizzy Mercier Descloux,
Quadrant,
Angels of Light & Akron/Family,
Television,
Siouxsie and the Banshees,
Subhumans,
Bush Tetras,
Thee Headcoats, Thee Headcoats, Thee Headcoats, Thee Headcoats.
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.