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 Ecuador and from Spokane.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Winnipeg and Glasgow.
I'm losing my edge to the art-school Edmonton 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 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 Model 500 to the rock 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 La Düsseldorf. All the underground hits.
All Circle Jerks tracks. I heard you have a vinyl of every Country Joe & The Fish record on German import.
I heard that you have a white label of every seminal funk 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 a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Graham Central Station record.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Au Pairs,
8 Eyed Spy,
Warren Ellis,
Man Parrish,
Inner City,
Kool G Rap & DJ Polo,
Spandau Ballet,
Heavy D & The Boyz,
Deutsch Amerikanische Freundschaft,
The Dirtbombs,
John Cale,
Goldenarms,
Patti Smith,
The Fugs,
Radio Birdman,
Y Pants,
The Raincoats,
Nation of Ulysses,
Gary Puckett & The Union Gap,
Grauzone,
Charles Mingus,
Altered Images,
Louis and Bebe Barron,
Rekid,
Isaac Hayes,
Ultravox,
Subhumans,
Kauko Röyhkä ja Narttu,
Peter and Kerry,
Aaron Thompson,
Dave Gahan,
Carl Craig,
Bobbi Humphrey,
Mark Hollis,
Crooked Eye,
Kango’s Stein Massive,
Fela Kuti,
The Barracudas,
the Slits,
Oneida,
Susan Cadogan,
Deakin,
Interpol,
Johnny Osbourne,
Minutemen,
Stiv Bators,
Tom Boy,
The Saints,
Sex Pistols,
The Electric Prunes,
The Zeros,
Mr. Review,
Sister Nancy,
Livin' Joy,
Lee Hazlewood,
The Fuzztones,
Ultramagnetic MC's,
Black Bananas,
June of 44, June of 44, June of 44, June of 44.
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.