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 Papua New Guinea and from Philadelphia.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Jakarta and New York.
I'm losing my edge to the art-school Woodstock 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 organ 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 Al Stewart to the techno kids.
I played it at the Astoria.
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 John Coltrane. All the underground hits.
All The Raincoats tracks. I heard you have a vinyl of every Pharaoh Sanders and the Fire Engines 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 '80s cut and another box set from the '70s.
I hear you're buying a 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Half Japanese 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?
Ultramagnetic MC's,
Infiniti,
Saccharine Trust,
The Zeros,
Von Mondo,
Iggy Pop,
Agent Orange,
The Motions,
James White and The Blacks,
Crime,
Jesper Dahlback,
The Blues Magoos,
Magazine,
The Pop Group,
Sex Pistols,
The Saints,
John Foxx,
Soft Machine,
Amon Düül,
Sad Lovers and Giants,
Jacques Brel,
Zapp,
Depeche Mode,
Gang Green,
The Velvet Underground,
Scrapy,
Lalann,
The Tremeloes,
The Names,
Pantaleimon,
Pagans,
The Chocolate Watch Band,
Roger Hodgson,
Trumans Water,
Steve Hackett,
China Crisis,
Glenn Branca,
Alphaville,
Chrome,
Wire,
Tears for Fears,
Gil Scott-Heron & Brian Jackson,
Drexciya,
R.M.O.,
Metal Thangz,
Procol Harum,
Ken Boothe,
The Skatalites,
Minutemen,
Lungfish,
Accadde A,
The Human League,
John Lydon,
Johnny Clarke,
The Techniques,
The Invisible,
Traffic Nightmare,
Eddi Front,
Index,
The Mummies,
Absolute Body Control,
Althea and Donna,
Suicide,
Rapeman, Rapeman, Rapeman, Rapeman.
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.