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 Italy and from Glasgow.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Winnipeg and Tehran.
I'm losing my edge to the art-school Spokane 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the synthesizer 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 The Birthday Party 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 Skriet. All the underground hits.
All Hardrive tracks. I heard you have a vinyl of every Kenny Larkin 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 an oboe and an organ and are throwing your macbook out the window because you want to make something real. You want to make a a-ha record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Trojans,
Monks,
Funkadelic,
It's A Beautiful Day,
Lou Christie,
Minnie Riperton,
Ituana,
Soul Sonic Force,
Pole,
Gil Scott Heron,
Bush Tetras,
Richard Hell and the Voidoids,
Delon & Dalcan,
Gastr Del Sol,
Mo-Dettes,
Public Image Ltd.,
Crooked Eye,
Ronan,
X-101,
Quando Quango,
Leonard Cohen,
Pagans,
T.S.O.L.,
Super Lover Cee & Casanova Rud,
Lower 48,
Sparks,
Eden Ahbez,
Hasil Adkins,
Donald Byrd,
The Raincoats,
Minny Pops,
DNA,
The Motions,
Liaisons Dangereuses,
The Smiths,
The Sound,
Albert Ayler,
Scan 7,
Jerry Gold Smith,
Urselle,
Spandau Ballet,
Pantytec,
Lizzy Mercier Descloux,
Technova,
Hardrive,
Altered Images,
Rotary Connection,
Absolute Body Control,
The Five Americans,
Newcleus,
the Soft Cell,
Intrusion,
Delta 5,
Pierre Henry,
The Monochrome Set,
Crime,
This Heat,
Chris Corsano,
Inner City,
Hot Snakes,
Interpol,
Funky Four + One,
Blancmange,
Jacques Brel, Jacques Brel, Jacques Brel, Jacques Brel.
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.