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 Estonia and from Johannesburg.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Toronto and Mumbai.
I'm losing my edge to the art-school Paris 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 1984 at the first Arcadia practice in a loft in London.
I was working on the güiro 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 Big Daddy Kane 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 The United States of America. All the underground hits.
All Justin Hinds & The Dominoes tracks. I heard you have a vinyl of every The Wake record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a linndrum and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Wire record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Near,
The Blackbyrds,
Bobby Sherman,
Art Ensemble Of Chicago,
Half Japanese,
Alison Limerick,
The Kinks,
Kango’s Stein Massive,
Pantytec,
Juan Atkins,
The Toasters,
The Velvet Underground,
Underground Resistance,
De La Soul & Jungle Brothers,
The Victims,
Jimmy McGriff,
Arab on Radar,
Faust,
Erasure,
Soft Cell,
Super Lover Cee & Casanova Rud,
Marine Girls,
Terry Callier,
New Order,
Marshall Jefferson,
Minnie Riperton,
Ultra Naté,
The Divine Comedy,
X-101,
Subhumans,
Terrestrial Tones,
Arcadia,
Ash Ra Tempel,
The Cowsills,
Major Organ And The Adding Machine,
Bronski Beat,
The Sisters of Mercy,
Ralphi Rosario,
The Busters,
8 Eyed Spy,
Lee Hazlewood,
Altered Images,
Man Parrish,
Theoretical Girls,
Anakelly,
Rhythim Is Rhythim,
Connie Case,
Peter & Gordon,
Whodini,
Radiohead,
Tubeway Army,
The Smoke,
Saccharine Trust,
The Fire Engines,
CMW,
Popol Vuh,
Susan Cadogan,
The Barracudas,
Althea and Donna,
Jeff Lynne,
Grey Daturas,
Thompson Twins,
Girls At Our Best!, Girls At Our Best!, Girls At Our Best!, Girls At Our Best!.
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.