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 Algeria and from Manila.
But I was there.
I was there in .
I was there at the first Suicide 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 1962 to 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Paris.
I'm losing my edge to the art-school Cairo 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 1973 at the first Television practice in a loft in New York.
I was working on the linndrum sounds with much patience.
I was there when Captain Beefheart 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 Wasted Youth to the jazz kids.
I played it at Cafe Wha.
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 Normal. All the underground hits.
All Oppenheimer Analysis tracks. I heard you have a vinyl of every Porter Ricks record on German import.
I heard that you have a white label of every seminal techno 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 sitar 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 arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pierre Henry,
Cecil Taylor,
Black Sheep,
Cabaret Voltaire,
Bang On A Can,
Davy DMX,
Silicon Teens,
The New Christs,
Matthew Bourne,
Inner City,
the Human League,
Chrome,
Hardrive,
The Sisters of Mercy,
Notorious Big And Bone Thugs,
Rakim,
Funky Four + One,
Pete Rock & C.L. Smooth,
Jerry Gold Smith,
Pantytec,
Gang Starr,
Scan 7,
Smog,
Half Japanese,
The Standells,
The Saints,
Soul Sonic Force,
Ajijia Myrayebe,
Con Funk Shun,
Beasts of Bourbon,
The Peanut Butter Conspiracy,
Ultimate Spinach,
Make Up,
Technova,
Orchestral Manoeuvres in the Dark,
Bill Near,
Rahsaan Roland Kirk,
Bootsy's Rubber Band,
Soulsonic Force,
Wire,
Todd Terry,
Mr. Review,
The Stooges,
Eden Ahbez,
Ultra Naté,
Can,
Manfred Mann's Earth Band,
Kings Of Tomorrow,
A Flock of Seagulls,
Aural Exciters,
The Walker Brothers,
Unwound,
Ornette Coleman,
Sticky Fingaz feat. Raekwon,
Patti Smith,
Lightning Bolt,
Khruangbin,
Pylon,
De La Soul & Jungle Brothers,
The Sound,
Strawberry Alarm Clock,
Rites of Spring,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.