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 Slovakia and from Lagos.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Copenhagen and Manila.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the chamberlin 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 PIL to the funk kids.
I played it at the Hacienda.
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 Dr. Dre and Snoop Doggy Dog. All the underground hits.
All The Doors tracks. I heard you have a vinyl of every Jandek 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 '50s cut and another box set from the '80s.
I hear you're buying a snare and a marimba 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 snare and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Moody Blues,
Big Daddy Kane,
Glenn Branca,
Dr. Dre and Snoop Doggy Dog,
The Human League,
Malaria!,
The Litter,
Lower 48,
Ornette Coleman,
The Music Machine,
Public Enemy,
Drexciya,
The Dead C,
Sunsets and Hearts,
Selector Dub Narcotic,
Sad Lovers and Giants,
The Buckinghams,
The Detroit Cobras,
Eyeless In Gaza,
Isaac Hayes,
Bill Near,
Gil Scott-Heron and Jamie xx,
Dead Boys,
The United States of America,
Black Pus,
Marshall Jefferson,
Stiv Bators,
The Birthday Party,
Lonnie Liston Smith,
Mary Jane Girls,
Brass Construction,
The Motions,
Al Stewart,
Talk Talk,
John Foxx,
Jacques Brel,
Alison Limerick,
Eve St. Jones,
Eric Copeland,
48th St. Collective,
Jimmy McGriff,
Index,
Suburban Knight,
Liaisons Dangereuses,
Ultra Naté,
Gian Franco Pienzio,
China Crisis,
Minny Pops,
Flash Fearless,
New Age Steppers,
Mandrill,
Brand Nubian,
The Gap Band,
The Remains,
Lalo Schifrin,
X-101,
Cybotron,
Scientists,
Joyce Sims,
The Royal Family And The Poor,
Dark Day, Dark Day, Dark Day, Dark Day.
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.