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 Equatorial Guinea and from Manila.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Tokyo and Sao Paulo.
I'm losing my edge to the art-school Columbus 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 1973 at the first Television practice in a loft in New York.
I was working on the chamberlin sounds with much patience.
I was there when David Bowie 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 T.S.O.L. to the funk kids.
I played it at Cafe Wha.
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 Scott Walker. All the underground hits.
All Faraquet tracks. I heard you have a vinyl of every Roxy Music record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Electric Prunes record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Godley & Creme,
Roxette,
Pantaleimon,
Public Enemy,
Pylon,
Janne Schatter,
Andrew Hill,
Ultramagnetic MC's,
Icehouse,
L. Decosne,
Lindisfarne,
Little Man,
Connie Case,
Stetsasonic,
Q65,
The Velvet Underground,
Kerri Chandler,
Masters at Work,
Lalo Schifrin,
a-ha,
Supertramp,
In Retrospect,
Nirvana,
T. Rex,
CMW,
the Normal,
Gang Starr,
The Tremeloes,
Kerrie Biddell,
X-102,
The Royal Family And The Poor,
Manfred Mann's Earth Band,
Yazoo,
Stockholm Monsters,
Hardrive,
The Count Five,
Justin Hinds & The Dominoes,
Mantronix,
Slick Rick,
Deakin,
Wire,
Bootsy's Rubber Band,
Robert Hood,
June of 44,
Ohio Players,
The Cure,
Captain Beefheart & His Magic Band,
Terry Callier,
Black Sheep,
Sun Ra,
Kenny Larkin,
Black Pus,
Rod Modell,
The Doors,
Eddi Front,
Spandau Ballet,
John Coltrane,
Theoretical Girls,
Rotary Connection,
Dr. Dre and Snoop Doggy Dog,
Bill Wells,
Dennis Brown,
Black Moon, Black Moon, Black Moon, Black Moon.
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.