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 Micronesia and from Salvador.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Johannesburg and Glasgow.
I'm losing my edge to the art-school Houston 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 rhodes sounds with much patience.
I was there when Tom Verlaine 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 Crispian St. Peters to the disco 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 Stiv Bators. All the underground hits.
All Negative Approach tracks. I heard you have a vinyl of every Moebius record on German import.
I heard that you have a white label of every seminal techno 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 808 and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Rahsaan Roland Kirk record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Anakelly,
The Beau Brummels,
Hashim,
Carl Craig,
Henry Cow,
Nas,
Das Ding,
The Alarm Clocks,
Saccharine Trust,
Sparks,
Bootsy Collins,
Wire,
Anthony Braxton,
Kurtis Blow,
Bauhaus,
Andrew Hill,
the Swans,
Underground Resistance,
Half Japanese,
Joy Division,
Siglo XX,
Jandek,
Stockholm Monsters,
Kenny Larkin,
DJ Style,
Bobby Hutcherson,
Pierre Henry,
Glambeats Corp.,
Flamin' Groovies,
Banda Bassotti,
Interpol,
Siouxsie and the Banshees,
June of 44,
Easy Going,
Yellowson,
Juan Atkins,
New York Dolls,
Aswad,
Rufus Thomas,
The Jesus and Mary Chain,
Echospace,
The Evens,
The Selecter,
Jerry's Kids,
Bobby Byrd,
Buzzcocks,
The Victims,
World's Most,
The Move,
Sunsets and Hearts,
Lizzy Mercier Descloux,
Gregory Isaacs,
Sight & Sound,
Neu!,
Ajijia Myrayebe,
Eric Dolphy,
The Electric Prunes,
Scott Walker + Sunn O))),
the Bar-Kays,
Dave Gahan,
Wasted Youth,
Theoretical Girls,
Idris Muhammad,
the Slits, the Slits, the Slits, the Slits.
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.