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 Senegal and from Bologna.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Toronto and Halifax.
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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the marimba 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 Arcadia 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 Swell Maps. All the underground hits.
All The Peanut Butter Conspiracy tracks. I heard you have a vinyl of every Camberwell Now record on German import.
I heard that you have a white label of every seminal grunge 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 chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Kurtis Blow record.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Soft Cell,
E-Dancer,
Qualms,
The Pop Group,
Magazine,
Rowland S Howard / Lydia Lunch,
June Days,
Bang On A Can,
Porter Ricks,
Metal Thangz,
Johnny Clarke,
Sparks,
Japan,
Anthony Braxton,
Trumans Water,
Sly & The Family Stone,
Nik Kershaw,
World's Most,
Kango’s Stein Massive,
Organ,
The Invisible,
Tim Buckley,
The Monks,
Wire,
Tommy Roe,
Peter and Kerry,
Red Lorry Yellow Lorry,
Deutsch Amerikanische Freundschaft,
The Skatalites,
Patti Smith,
The Doors,
Unrelated Segments,
Juan Atkins,
Blossom Toes,
Brass Construction,
Traffic Nightmare,
DeepChord presents Echospace,
Byron Stingily,
Charles Mingus,
Kayak,
Roxette,
Adolescents,
Chrome,
Rosa Yemen,
Lightning Bolt,
The Barracudas,
The Neon Judgement,
Slave,
Nas,
Hardrive,
Ronnie Foster,
Bizarre Inc.,
Crime,
Sound Behaviour,
Radiopuhelimet,
K-Klass,
Interpol,
The Tremeloes,
Electric Light Orchestra,
Symarip, Symarip, Symarip, Symarip.
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.