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 India and from Madrid.
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 1972.
I'm losing my edge.
To all the kids in Houston and Spokane.
I'm losing my edge to the art-school Mexico City 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the harpsichord 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 Grandmaster Flash and the Furious Five to the punk kids.
I played it at the 40 Watt.
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 ABBA. All the underground hits.
All Robert Wyatt tracks. I heard you have a vinyl of every Ash Ra Tempel record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Nirvana record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Ashong & Theo Parrish,
The Sisters of Mercy,
Public Enemy,
Lee Hazlewood,
The Doobie Brothers,
New Age Steppers,
A Certain Ratio,
Jacob Miller,
Roxy Music,
Robert Hood,
Guru Guru,
Yazoo,
Brass Construction,
Soft Cell,
The Cosmic Jokers,
Eric B and Rakim,
Electric Light Orchestra,
Todd Terry,
Mary Jane Girls,
Sister Nancy,
Juan Atkins,
The Peanut Butter Conspiracy,
Can,
Duran Duran,
Pharaoh Sanders and the Fire Engines,
Blancmange,
Camouflage,
Sarah Menescal,
Strawberry Alarm Clock,
Laurel Aitken,
Kas Product,
Nick Fraelich,
The Names,
Babytalk,
the Germs,
Icehouse,
Eddi Front,
Traffic Nightmare,
Minnie Riperton,
Theoretical Girls,
Man Parrish,
Tropical Tobacco,
Nation of Ulysses,
Silicon Teens,
The Gun Club,
Marc Almond,
Talk Talk,
Vladislav Delay,
Chris & Cosey,
Shoche,
Rufus Thomas,
The Selecter,
Susan Cadogan,
The Wake,
Eli Mardock,
DeepChord presents Echospace,
Jimmy McGriff,
Unrelated Segments,
Spandau Ballet,
Fluxion,
Gong, Gong, Gong, Gong.
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.