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 Estonia and from Woodstock.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Manchester and Manchester.
I'm losing my edge to the art-school Woodstock 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the 808 sounds with much patience.
I was there when Robert Palmer 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 R.M.O. to the jazz kids.
I played it at the Astoria.
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 Crispy Ambulance. All the underground hits.
All Louis and Bebe Barron tracks. I heard you have a vinyl of every Peter & Gordon record on German import.
I heard that you have a white label of every seminal rock 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 güiro and a harpsichord 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 spring reverb and bought a guitar.
I hear that you and your band have sold your guitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Steve Hackett,
X-102,
Jerry Gold Smith,
Supertramp,
Ken Boothe,
Fluxion,
Au Pairs,
Circle Jerks,
Orchestral Manoeuvres in the Dark,
Banda Bassotti,
Gang Green,
Rufus Thomas,
The Birthday Party,
Franke,
Jeru the Damaja,
Pantytec,
New York Dolls,
F. McDonald,
Underground Resistance,
Technova,
Susan Cadogan,
Bobby Sherman,
The Peanut Butter Conspiracy,
Letta Mbulu,
Arab on Radar,
Malaria!,
The Young Rascals,
Drexciya,
Wighnomy Brothers & Robag Wruhme,
Maurizio,
Roxette,
The Cowsills,
Vaughan Mason & Crew,
U.S. Maple,
Suburban Knight,
Radiopuhelimet,
EPMD,
Absolute Body Control,
The Fall,
The Gladiators,
Black Pus,
Barbara Tucker,
Saccharine Trust,
Surgeon,
Bootsy's Rubber Band,
Shuggie Otis,
John Cale,
Wire,
The Velvet Underground,
Quantec,
The Mummies,
Bill Near,
Mars,
Tears for Fears,
Boredoms,
Derrick Morgan,
Sällskapet,
Grandmaster Flash,
Rotary Connection,
Bronski Beat,
The Barracudas,
Pantaleimon,
Audionom, Audionom, Audionom, Audionom.
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.