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 Iraq and from Woodstock.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Houston and Johannesburg.
I'm losing my edge to the art-school Copenhagen 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 Slick Rick to the techno 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 The Leaves. All the underground hits.
All Connie Case tracks. I heard you have a vinyl of every Crispian St. Peters record on German import.
I heard that you have a white label of every seminal grunge 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 harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Techniques record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
H. Thieme,
Country Joe & The Fish,
The Happenings,
Bobbi Humphrey,
Man Eating Sloth,
Roy Ayers Ubiquity,
Graham Central Station,
Art Ensemble Of Chicago,
Fear,
Henry Cow,
Fort Wilson Riot,
DNA,
Soft Machine,
Quando Quango,
Public Image Ltd.,
The Fire Engines,
Funkadelic,
Thompson Twins,
Notorious Big And Bone Thugs,
Soft Cell,
Todd Rundgren,
James White and The Blacks,
Soul II Soul,
Cymande,
Newcleus,
Ash Ra Tempel,
Ornette Coleman,
Drive Like Jehu,
Freddie Wadling,
Liaisons Dangereuses,
The Walker Brothers,
Big Daddy Kane,
The Skatalites,
Bluetip,
Marcia Griffiths,
Rapeman,
Television Personalities,
Ten City,
Peter and Kerry,
Derrick May,
The Remains,
a-ha,
Sister Nancy,
Main Source,
Minnie Riperton,
Fifty Foot Hose,
Tubeway Army,
Curtis Mayfield,
Young Marble Giants,
Kool G Rap & DJ Polo,
Metal Thangz,
Technova,
Deadbeat,
Gregory Isaacs,
X-101,
the Germs,
The Music Machine,
Camron Feat. Memphis Bleek And Beenie Seigel,
Peter Gordon & Love of Life Orchestra,
Major Organ And The Adding Machine,
Danielle Patucci,
Larry & the Blue Notes,
Malaria!, Malaria!, Malaria!, Malaria!.
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.