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 Cape Verde and from Copenhagen.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Delhi and Lagos.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the synthesizer 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 Khruangbin to the jazz 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 Model 500. All the underground hits.
All Thinking Fellers Union Local 282 tracks. I heard you have a vinyl of every Sandy B record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an oboe and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marcia Griffiths,
The Young Rascals,
Joensuu 1685,
Hoover,
Donald Byrd,
Amon Düül II,
Bauhaus,
Eddi Front,
Quadrant,
Laurel Aitken,
Warsaw,
In Retrospect,
Average White Band,
Althea and Donna,
Grey Daturas,
Heaven 17,
Q and Not U,
Country Joe & The Fish,
The Offenders,
The West Coast Pop Art Experimental Band,
The Last Poets,
Symarip,
Rosa Yemen,
The Sound,
Bang on a Can All-Stars,
Maleditus Sound,
Audionom,
The Sonics,
Ralphi Rosario,
June Days,
a-ha,
Kings Of Tomorrow,
Bad Manners,
Trumans Water,
Jeff Lynne,
Frankie Knuckles,
Leonard Cohen,
Jawbox,
Alice Coltrane,
Monolake,
Man Parrish,
Gil Scott Heron,
Aural Exciters,
Procol Harum,
Dorothy Ashby,
New Order,
Tres Demented,
John Holt,
Basic Channel,
June of 44,
DeepChord presents Echospace,
Tommy Roe,
Bronski Beat,
Roxy Music,
the Fania All-Stars,
Rites of Spring,
Sight & Sound,
DNA,
Art Ensemble Of Chicago,
Jacques Brel,
Wire,
Stiv Bators,
Sparks, Sparks, Sparks, Sparks.
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.