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 Qatar and from Manchester.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1974.
I'm losing my edge.
To all the kids in New York and Milan.
I'm losing my edge to the art-school Spokane 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 spring reverb 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 Quadrant to the electroclash kids.
I played it at the Roxy.
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 Men They Couldn't Hang. All the underground hits.
All Glambeats Corp. tracks. I heard you have a vinyl of every Fatback Band 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 '80s.
I hear you're buying a 808 and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Saints record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Art Ensemble Of Chicago,
Eurythmics,
Joyce Sims,
Isaac Hayes,
Angels of Light & Akron/Family,
Crooked Eye,
Sun Ra,
Brick,
Model 500,
Heaven 17,
Q65,
Howard Jones,
The Neon Judgement,
Davy DMX,
Major Organ And The Adding Machine,
Orchestral Manoeuvres in the Dark,
Mo-Dettes,
10cc,
Wolf Eyes,
Symarip,
Bob Dylan,
The Wake,
Nick Cave & The Bad Seeds,
Severed Heads,
Supertramp,
The Cosmic Jokers,
Motorama,
Ohio Players,
Fluxion,
The Misunderstood,
Funky Four + One,
Ice-T,
The Vogues,
Arab on Radar,
The Five Americans,
Delon & Dalcan,
Jeff Mills,
Yaz,
Pete Rock & C.L. Smooth,
Boredoms,
Vainqueur,
Zero Boys,
The Fire Engines,
Nils Olav,
La Düsseldorf,
cv313,
The Alarm Clocks,
H. Thieme,
The Blues Magoos,
Glenn Branca,
Larry & the Blue Notes,
Marine Girls,
Bang On A Can,
Sun City Girls,
Nation of Ulysses,
Moss Icon,
Lucky Dragons,
Sexual Harrassment,
Dark Day,
The Shadows of Knight,
Joy Division,
Cheater Slicks, Cheater Slicks, Cheater Slicks, Cheater Slicks.
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.