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 Mexico and from Seoul.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Copenhagen and Lyon.
I'm losing my edge to the art-school Salvador 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 1976 at the first Wire practice in a loft in Watford.
I was working on the synthesizer 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 Don Cherry to the punk kids.
I played it at CBGB's.
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 Minny Pops. All the underground hits.
All The Count Five tracks. I heard you have a vinyl of every Rakim record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Marine Girls record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Victims,
Eve St. Jones,
Charles Mingus,
Liliput,
Pere Ubu,
Man Eating Sloth,
The Alarm Clocks,
Zero Boys,
Circle Jerks,
Archie Shepp,
Selector Dub Narcotic,
Vaughan Mason & Crew,
Aswad,
Agitation Free,
the Swans,
Toni Rubio,
The Peanut Butter Conspiracy,
The Slits,
EPMD,
Ultramagnetic MC's,
Parry Music,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Bang on a Can All-Stars,
Liaisons Dangereuses,
Mr. Review,
Pylon,
Fear,
PIL,
The Techniques,
Carl Craig,
Amazonics,
Orchestral Manoeuvres in the Dark,
Television Personalities,
The Happenings,
Pierre Henry,
Glenn Branca,
Art Ensemble Of Chicago,
Barry Ungar,
New Age Steppers,
Stetsasonic,
Shuggie Otis,
The Fugs,
Boogie Down Productions,
Pole,
Wings,
Beasts of Bourbon,
Lightning Bolt,
Gastr Del Sol,
New Order,
Nation of Ulysses,
Barrington Levy,
Adolescents,
The Detroit Cobras,
This Heat,
The Cosmic Jokers,
Tears for Fears,
Suicide,
Nik Kershaw,
Dual Sessions,
Howard Jones,
Piero Umiliani,
Avey Tare,
10cc,
Massinfluence,
H. Thieme, H. Thieme, H. Thieme, H. Thieme.
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.