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 Monaco and from Delhi.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Cairo and Bremen.
I'm losing my edge to the art-school Tehran 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 marimba 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 Neil Young & Crazy Horse to the jazz 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 Nation of Ulysses. All the underground hits.
All Niagra tracks. I heard you have a vinyl of every The Monochrome Set record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a snare and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Ronnie Foster record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Moleskins,
The Cure,
Curtis Mayfield,
Skarface,
Radio Birdman,
Youth Brigade,
Max Romeo,
Althea and Donna,
Byron Stingily,
Mandrill,
Visage,
Derrick May,
Ronnie Foster,
Jandek,
Dual Sessions,
Surgeon,
The Invisible,
The Seeds,
June of 44,
Monolake,
Ohio Players,
Cymande,
Supertramp,
Country Teasers,
Monks,
Pierre Henry,
Popol Vuh,
Arcadia,
Underground Resistance,
Scratch Acid,
Bush Tetras,
Black Bananas,
Faust,
Model 500,
Bizarre Inc.,
Loose Ends,
Bobby Byrd,
OOIOO,
Leonard Cohen,
X-101,
Blancmange,
Hardrive,
Spoonie Gee,
Main Source,
the Soft Cell,
8 Eyed Spy,
David McCallum,
Josef K,
Bang on a Can All-Stars,
Goldenarms,
Lou Christie,
Jesper Dahlback,
The Chocolate Watch Band,
Ornette Coleman,
Quadrant,
Masters at Work,
D'Angelo,
Gang Starr,
Cal Tjader,
Brass Construction,
The Flesh Eaters, The Flesh Eaters, The Flesh Eaters, The Flesh Eaters.
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.