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 Gabon and from Salvador.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Halifax and London.
I'm losing my edge to the art-school Copenhagen 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the spring reverb 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 Teenage Jesus and the Jerks 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 This Heat. All the underground hits.
All PIL tracks. I heard you have a vinyl of every cv313 record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Underground Resistance record.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gang Starr,
Eve St. Jones,
The Modern Lovers,
Hot Snakes,
Teenage Jesus and the Jerks,
The Cure,
Unwound,
Strawberry Alarm Clock,
Q and Not U,
The Divine Comedy,
Camberwell Now,
Black Pus,
Country Joe & The Fish,
Robert Wyatt,
John Cale,
James White and The Blacks,
Clear Light,
Louis and Bebe Barron,
Jawbox,
The Jesus and Mary Chain,
Wally Richardson,
Rotary Connection,
Scion,
The Peanut Butter Conspiracy,
Goldenarms,
Matthew Bourne,
Howard Jones,
the Soft Cell,
Kool G Rap & DJ Polo,
The Motions,
The Dave Clark Five,
Second Layer,
Glambeats Corp.,
Bluetip,
Scientists,
The Count Five,
Liaisons Dangereuses,
Davy DMX,
Ohio Players,
The Kinks,
Lindisfarne,
The Men They Couldn't Hang,
Negative Approach,
Robert Hood,
Wighnomy Brothers & Robag Wruhme,
The Cowsills,
Accadde A,
Bootsy Collins,
Thompson Twins,
Piero Umiliani,
Larry & the Blue Notes,
Interpol,
Scan 7,
Lou Christie,
Cabaret Voltaire,
The Human League,
Throbbing Gristle,
The Shadows of Knight,
Vaughan Mason & Crew,
the Slits, the Slits, the Slits, the Slits.
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.