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 Argentina and from Copenhagen.
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 1979.
I'm losing my edge.
To all the kids in Beijing and Lille.
I'm losing my edge to the art-school Manila 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 chamberlin sounds with much patience.
I was there when Donald Fagen 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 Lou Reed & Metallica to the electroclash 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 Zapp. All the underground hits.
All Freddie Wadling tracks. I heard you have a vinyl of every The Durutti Column record on German import.
I heard that you have a white label of every seminal grime 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 synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Lindisfarne record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gang Green,
Joyce Sims,
Fat Boys,
Section 25,
Electric Light Orchestra,
Erasure,
Eric B and Rakim,
Second Layer,
Rhythm & Sound,
Echospace,
Urselle,
Kas Product,
The Royal Family And The Poor,
Bauhaus,
Cal Tjader,
Buzzcocks,
Main Source,
Pulsallama,
Black Moon,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Kenny Larkin,
John Holt,
Kurtis Blow,
Underground Resistance,
Slick Rick,
Marshall Jefferson,
Whodini,
The United States of America,
Index,
Radiopuhelimet,
Be Bop Deluxe,
Isaac Hayes,
Ultravox,
Sight & Sound,
James White and The Blacks,
Royal Trux,
The Index,
The Durutti Column,
EPMD,
Zapp,
Lakeside,
Essential Logic,
Rufus Thomas,
Black Sheep,
Eve St. Jones,
Nils Olav,
Soft Cell,
Parry Music,
Crispy Ambulance,
Pole,
Jacques Brel,
Jerry's Kids,
Eric Dolphy,
Jawbox,
Ash Ra Tempel,
Sexual Harrassment,
Cluster,
Richard Hell and the Voidoids,
Goldenarms,
Sun Ra,
Scratch Acid,
Intrusion, Intrusion, Intrusion, Intrusion.
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.