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 Korea South and from Beijing.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1971.
I'm losing my edge.
To all the kids in Shanghai and Milan.
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 spring reverb 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 Suburban Knight to the rock 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 Cal Tjader. All the underground hits.
All Maurizio tracks. I heard you have a vinyl of every Blossom Toes record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an arpeggiator and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Barry Ungar record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sad Lovers and Giants,
Kayak,
Ajijia Myrayebe,
The Flesh Eaters,
Quando Quango,
Visionaries,LMNO, T- Love & Iriscience,
Mantronix,
Minor Threat,
Los Fastidios,
The Mojo Men,
Boz Scaggs,
Eurythmics,
Delta 5,
The Stooges,
Fat Boys,
Stereo Dub,
Franke,
Sunsets and Hearts,
Slave,
Derrick May,
Bang on a Can All-Stars,
Heaven 17,
Davy DMX,
the Slits,
UT,
The Cramps,
Matthew Bourne,
Ultra Naté,
Lyres,
A Certain Ratio,
Vainqueur,
Rowland S Howard / Lydia Lunch,
The Mummies,
Minnie Riperton,
Cabaret Voltaire,
Glenn Branca,
Depeche Mode,
Blancmange,
Thompson Twins,
Scratch Acid,
Dorothy Ashby,
Strawberry Alarm Clock,
Lindisfarne,
The Smiths,
Eddi Front,
Heavy D & The Boyz,
Connie Case,
David Bowie,
Circle Jerks,
The Cosmic Jokers,
Bootsy's Rubber Band,
Bush Tetras,
Youth Brigade,
Wire,
the Swans,
Kaleidoscope,
DJ Style,
Electric Prunes,
Henry Cow,
Model 500,
L. Decosne, L. Decosne, L. Decosne, L. Decosne.
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.