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 Trinidad & Tobago and from Shanghai.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Philadelphia and Beijing.
I'm losing my edge to the art-school Tokyo 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 harpsichord 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 The Velvet Underground to the disco kids.
I played it at CBGB's.
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 Prince Buster. All the underground hits.
All R.M.O. tracks. I heard you have a vinyl of every The Shadows of Knight 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 '80s cut and another box set from the '90s.
I hear you're buying a snare and an organ and are throwing your macbook out the window because you want to make something real. You want to make a the Normal record.
I hear that you and your band have sold your sitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bush Tetras,
Notorious Big And Bone Thugs,
Jeff Lynne,
Chris & Cosey,
The Invisible,
Trumans Water,
Iggy Pop,
Magazine,
The Pop Group,
Maleditus Sound,
Gary Puckett & The Union Gap,
Arthur Verocai,
Moss Icon,
10cc,
Country Joe & The Fish,
Model 500,
Brick,
Cluster,
The Shadows of Knight,
The Wake,
World's Most,
The Selecter,
Ultravox,
Make Up,
The Mummies,
Crime,
Richard Hell and the Voidoids,
The Sound,
The New Christs,
Lakeside,
Marshall Jefferson,
Mad Mike,
The Divine Comedy,
Faraquet,
Al Stewart,
Jerry Gold Smith,
Motorama,
cv313,
Sam Rivers,
Minor Threat,
Junior Murvin,
Ludus,
Second Layer,
Byron Stingily,
the Slits,
The Cowsills,
The Count Five,
The Moleskins,
Sarah Menescal,
Symarip,
Teenage Jesus and the Jerks,
Tears for Fears,
Josef K,
Zero Boys,
The Index,
The Associates,
the Normal,
Agitation Free,
Sun Ra Arkestra,
The Detroit Cobras,
PIL, PIL, PIL, PIL.
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.