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 Portland.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1974.
I'm losing my edge.
To all the kids in Beijing and Copenhagen.
I'm losing my edge to the art-school Beijing 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 808 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 Rhythm & Sound to the grime 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 Major Organ And The Adding Machine. All the underground hits.
All Inner City tracks. I heard you have a vinyl of every Girls At Our Best! record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a guitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a KRS-One record.
I hear that you and your band have sold your sitar and bought a guitar.
I hear that you and your band have sold your guitar and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alphaville,
Max Romeo,
Boredoms,
Agent Orange,
a-ha,
New York Dolls,
Wolf Eyes,
Avey Tare's Slasher Flicks,
Porter Ricks,
Unwound,
Bootsy Collins,
Bronski Beat,
A Flock of Seagulls,
Henry Cow,
The Victims,
Simply Red,
Beasts of Bourbon,
Judy Mowatt,
Sun Ra,
the Fania All-Stars,
Joyce Sims,
Minor Threat,
Gang Gang Dance,
UT,
FM Einheit,
Peter and Kerry,
Spandau Ballet,
Echo & the Bunnymen,
Motorama,
The Divine Comedy,
Massinfluence,
Rowland S Howard / Lydia Lunch,
Talk Talk,
Jacques Brel,
The Shadows of Knight,
The Gories,
Kayak,
Joey Negro,
Black Moon,
Amon Düül,
Roger Hodgson,
Japan,
Brick,
Underground Resistance,
Kaleidoscope,
Moby Grape,
Drexciya,
Todd Rundgren,
Johnny Osbourne,
Skarface,
The Young Rascals,
Eric B and Rakim,
Tim Buckley,
Pharoah Sanders,
F. McDonald,
Eli Mardock,
Orchestral Manoeuvres in the Dark,
Dual Sessions,
Deadbeat, Deadbeat, Deadbeat, Deadbeat.
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.