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 Kazakhstan and from Copenhagen.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Taipei and Philadelphia.
I'm losing my edge to the art-school Stockholm 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 Robert Palmer 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 Richard Hell and the Voidoids to the rap kids.
I played it at the Hacienda.
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 Fela Kuti. All the underground hits.
All Nirvana tracks. I heard you have a vinyl of every Gang of Four record on German import.
I heard that you have a white label of every seminal rock 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 an organ and a snare and are throwing your macbook out the window because you want to make something real. You want to make a 10cc record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bang on a Can All-Stars,
Minor Threat,
La Düsseldorf,
The Barracudas,
Andrew Ashong & Theo Parrish,
The Saints,
Hot Snakes,
Mr. Review,
Soft Cell,
Animal Collective,
Bobby Sherman,
Rites of Spring,
Henry Cow,
Bauhaus,
Tim Buckley,
cv313,
OOIOO,
Amazonics,
Gian Franco Pienzio,
Terry Callier,
Inner City,
Country Teasers,
Blake Baxter,
The Royal Family And The Poor,
Moss Icon,
The Count Five,
Swans,
PIL,
U.S. Maple,
The Searchers,
Qualms,
The Cowsills,
DeepChord presents Echospace,
Goldenarms,
Kango’s Stein Massive,
Toni Rubio,
The Velvet Underground,
Cecil Taylor,
Lucky Dragons,
Chris & Cosey,
Schoolly D,
Rufus Thomas,
Grauzone,
Fat Boys,
The Human League,
Spandau Ballet,
Absolute Body Control,
The Men They Couldn't Hang,
In Retrospect,
Siouxsie and the Banshees,
Television Personalities,
Nation of Ulysses,
The Fortunes,
Ornette Coleman,
Gerry Rafferty,
New York Dolls,
New Age Steppers,
Dual Sessions,
Danielle Patucci,
Jerry's Kids,
Rod Modell,
Gastr Del Sol, Gastr Del Sol, Gastr Del Sol, Gastr Del Sol.
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.