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 Estonia and from Lille.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1977.
I'm losing my edge.
To all the kids in Madrid and Milan.
I'm losing my edge to the art-school Accra 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 808 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 Rites of Spring to the disco kids.
I played it at the Astoria.
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 Sly & The Family Stone. All the underground hits.
All Talk Talk tracks. I heard you have a vinyl of every Heavy D & The Boyz record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Flash Fearless record.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tom Boy,
Los Fastidios,
Model 500,
Echospace,
Blossom Toes,
Anakelly,
Crooked Eye,
Liliput,
The Move,
Lyres,
Pole,
Alice Coltrane,
Pet Shop Boys,
Blake Baxter,
T.S.O.L.,
X-101,
Gabor Szabo,
Slave,
Toni Rubio,
Lalo Schifrin,
Richard Hell and the Voidoids,
Ultravox,
Albert Ayler,
Reuben Wilson,
Monolake,
Laurel Aitken,
Massinfluence,
Lee Hazlewood,
Wings,
Spandau Ballet,
Animal Collective,
Television Personalities,
Cecil Taylor,
Ultimate Spinach,
Archie Shepp,
Matthew Halsall,
Stetsasonic,
L. Decosne,
Pussy Galore,
Alton Ellis,
Oneida,
Groovy Waters,
The Fuzztones,
De La Soul & Jungle Brothers,
Terrestrial Tones,
Drive Like Jehu,
Yazoo,
Royal Trux,
China Crisis,
Donald Byrd,
James Chance & The Contortions,
Blancmange,
Aswad,
Don Cherry,
Fear,
Peter and Kerry,
The Raincoats,
Audionom,
Talk Talk,
Teenage Jesus and the Jerks,
Joe Finger,
The Gories, The Gories, The Gories, The Gories.
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.