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 Croatia and from Sao Paulo.
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 1969 to 1978.
I'm losing my edge.
To all the kids in London and Bremen.
I'm losing my edge to the art-school Johannesburg 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the chamberlin sounds with much patience.
I was there when Michael McDonald 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 Ossler to the crunk 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 Laurel Aitken. All the underground hits.
All The Tremeloes tracks. I heard you have a vinyl of every Grauzone 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 '70s cut and another box set from the '80s.
I hear you're buying an organ and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Barry Ungar record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
ABBA,
Deutsch Amerikanische Freundschaft,
Scott Walker,
The United States of America,
Liaisons Dangereuses,
Tomorrow,
The Electric Prunes,
The Blackbyrds,
John Lydon,
Grauzone,
Gichy Dan,
Spoonie Gee,
Kauko Röyhkä ja Narttu,
Radio Birdman,
Lyres,
Deadbeat,
Kerri Chandler,
Warsaw,
The Fall,
Pylon,
The Happenings,
The Busters,
Amazonics,
Depeche Mode,
Parry Music,
The Cramps,
Glenn Branca,
Reuben Wilson,
the Human League,
The Five Americans,
Young Marble Giants,
June Days,
Roxette,
Public Enemy,
Wire,
The Move,
Rowland S Howard / Lydia Lunch,
Mark Hollis,
Make Up,
Groovy Waters,
Soft Cell,
Throbbing Gristle,
Joe Smooth,
Echospace,
Circle Jerks,
Gong,
Can,
Alice Coltrane,
Ronan,
Arcadia,
Traffic Nightmare,
Oblivians,
Masters at Work,
Q and Not U,
Blancmange,
Quando Quango,
Janne Schatter,
Nick Cave & The Bad Seeds,
Curtis Mayfield,
48th St. Collective,
Leonard Cohen,
The Velvet Underground,
The Skatalites,
The Martian, The Martian, The Martian, The Martian.
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.