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 Uzbekistan and from Winnipeg.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Shanghai and New York.
I'm losing my edge to the art-school Madrid 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 Soft Boys practice in a loft in Cambridge.
I was working on the guitar sounds with much patience.
I was there when Lou Reed 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 Marshall Jefferson to the electroclash kids.
I played it at Trash.
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 Howard Jones. All the underground hits.
All Ash Ra Tempel tracks. I heard you have a vinyl of every The Doobie Brothers 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 '70s cut and another box set from the '90s.
I hear you're buying a güiro and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Jeff Lynne record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Glenn Branca,
Bang on a Can All-Stars,
Lizzy Mercier Descloux,
the Soft Cell,
MDC,
Cybotron,
Sly & The Family Stone,
ABC,
Mary Jane Girls,
Quando Quango,
Agent Orange,
Dual Sessions,
Major Organ And The Adding Machine,
The Jesus and Mary Chain,
The Stooges,
Stereo Dub,
Smog,
Barclay James Harvest,
Pharaoh Sanders and the Fire Engines,
Dead Boys,
Dennis Brown,
Kool Moe Dee,
Vaughan Mason & Crew,
The Remains,
Pole,
Liliput,
Steve Hackett,
The Chocolate Watch Band,
Infiniti,
Kings Of Tomorrow,
Wire,
Vladislav Delay,
Shoche,
Half Japanese,
Electric Light Orchestra,
The Gun Club,
Joensuu 1685,
Piero Umiliani,
This Heat,
Mission of Burma,
Chris & Cosey,
John Lydon,
The Mighty Diamonds,
Easy Going,
Hardrive,
X-102,
Rahsaan Roland Kirk,
Blake Baxter,
Grandmaster Flash,
Sun City Girls,
Siglo XX,
Roger Hodgson,
Byron Stingily,
Sad Lovers and Giants,
Eden Ahbez,
Scion,
Man Eating Sloth,
Davy DMX,
Los Fastidios,
The Men They Couldn't Hang,
A Flock of Seagulls,
Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs.
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.