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 France and from Seoul.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Calgary and Seoul.
I'm losing my edge to the art-school Lyon 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the snare 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 Alison Limerick to the punk kids.
I played it at Trash.
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 Throbbing Gristle. All the underground hits.
All Reagan Youth tracks. I heard you have a vinyl of every It's A Beautiful Day record on German import.
I heard that you have a white label of every seminal rap 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 an arpeggiator and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Spandau Ballet record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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?
Connie Case,
The Fuzztones,
Ludus,
The Gun Club,
The Velvet Underground,
Todd Rundgren,
Carl Craig,
Minnie Riperton,
The Real Kids,
The Gories,
The Martian,
Saccharine Trust,
Colin Newman,
Blancmange,
Los Fastidios,
Ronnie Foster,
Ultravox,
Manfred Mann's Earth Band,
In Retrospect,
The Gladiators,
World's Most,
Suburban Knight,
June of 44,
The Fire Engines,
LL Cool J,
Motorama,
Josef K,
DNA,
EPMD,
Interpol,
U.S. Maple,
X-102,
Kings Of Tomorrow,
Lizzy Mercier Descloux,
Janne Schatter,
Kenny Larkin,
Flipper,
10cc,
Captain Beefheart & His Magic Band,
Q and Not U,
8 Eyed Spy,
Pussy Galore,
Minny Pops,
John Cale,
Rites of Spring,
Porter Ricks,
Sandy B,
Dorothy Ashby,
Little Man,
Pharaoh Sanders and the Fire Engines,
The Human League,
Parry Music,
Sällskapet,
X-Ray Spex,
Schoolly D,
The Fortunes,
Infiniti,
Sunsets and Hearts,
Au Pairs,
Swell Maps,
Brick,
Trumans Water,
Lee Hazlewood, Lee Hazlewood, Lee Hazlewood, Lee Hazlewood.
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.