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 Montenegro and from Philadelphia.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1970.
I'm losing my edge.
To all the kids in Milan and Accra.
I'm losing my edge to the art-school Tokyo 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 Feelies practice in a loft in Haledon.
I was working on the linndrum sounds with much patience.
I was there when Michael McDonald 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 Gil Scott-Heron & Brian Jackson to the crunk 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 Surgeon. All the underground hits.
All Steve Hackett tracks. I heard you have a vinyl of every Anakelly 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 '80s cut and another box set from the '90s.
I hear you're buying a theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Japan record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sonic Youth,
Technova,
New Age Steppers,
Lee Hazlewood,
Lou Reed,
Ash Ra Tempel,
Spandau Ballet,
The Vogues,
Lindisfarne,
Suicide,
Ossler,
Thompson Twins,
Todd Terry,
Albert Ayler,
Bush Tetras,
Maleditus Sound,
The Smiths,
the Association,
Echospace,
Cecil Taylor,
Ultra Naté,
Pantytec,
The Move,
Country Teasers,
Sun City Girls,
Cymande,
The Chocolate Watch Band,
The Remains,
Niagra,
The Monks,
Babytalk,
Angels of Light & Akron/Family,
Soul II Soul,
Black Pus,
Radio Birdman,
Lucky Dragons,
The Flesh Eaters,
These Immortal Souls,
Gian Franco Pienzio,
Q and Not U,
The West Coast Pop Art Experimental Band,
Symarip,
The Detroit Cobras,
Interpol,
Hardrive,
The Blues Magoos,
Country Joe & The Fish,
Newcleus,
Yellowson,
Intrusion,
Big Daddy Kane,
the Sonics,
Crime,
Black Sheep,
The Dead C,
Rowland S Howard / Lydia Lunch,
Public Enemy,
Blancmange,
Deutsch Amerikanische Freundschaft,
The Doors,
Hashim,
Roxy Music, Roxy Music, Roxy Music, Roxy Music.
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.