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 Trinidad & Tobago and from Toronto.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Jakarta and Mexico City.
I'm losing my edge to the art-school Spokane 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 Art of Noise practice in a loft in London.
I was working on the snare 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 Nas to the electroclash kids.
I played it at the Spitz.
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 Mary Jane Girls. All the underground hits.
All Bobby Hutcherson tracks. I heard you have a vinyl of every Bang On A Can record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a güiro and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Negative Approach record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Golliwogs,
Au Pairs,
Scott Walker,
Jacob Miller,
Prince Buster,
Massinfluence,
Das Ding,
The Standells,
Underground Resistance,
Kaleidoscope,
Thee Headcoats,
K-Klass,
Wolf Eyes,
Drexciya,
Eyeless In Gaza,
Lou Reed & Metallica,
Lyres,
Tres Demented,
the Normal,
Magma,
Mission of Burma,
Smog,
Vladislav Delay,
Lower 48,
The Sonics,
The Neon Judgement,
Procol Harum,
The Alarm Clocks,
Faraquet,
Barry Ungar,
Hot Snakes,
The Fire Engines,
David Bowie,
Whodini,
Kerrie Biddell,
The Offenders,
Skriet,
Susan Cadogan,
Richard Hell and the Voidoids,
Heavy D & The Boyz,
Rosa Yemen,
Sticky Fingaz feat. Raekwon,
the Association,
Bizarre Inc.,
The Vogues,
Graham Central Station,
James Chance & The Contortions,
Josef K,
The Pretty Things,
Rhythm & Sound,
Deepchord,
Grey Daturas,
Angels of Light & Akron/Family,
Jandek,
Harry Pussy,
Michelle Simonal,
Public Enemy,
Inner City,
Television Personalities,
Soft Machine,
Wasted Youth,
Theoretical Girls,
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.