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 Bahamas and from Woodstock.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Taipei and Tehran.
I'm losing my edge to the art-school Seoul 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the marimba sounds with much patience.
I was there when David Bowie 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 Boredoms to the punk kids.
I played it at the Hacienda.
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 Tears for Fears. All the underground hits.
All Laurel Aitken tracks. I heard you have a vinyl of every Gang Starr record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a guitar and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Organ record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
UT,
James Chance & The Contortions,
The Motions,
The Sonics,
The Electric Prunes,
Groovy Waters,
Matthew Bourne,
Pete Rock & C.L. Smooth,
Warsaw,
Panda Bear,
H. Thieme,
Audionom,
The Standells,
Gary Puckett & The Union Gap,
Second Layer,
Animal Collective,
Hot Snakes,
Supertramp,
Girls At Our Best!,
T.S.O.L.,
Gang Green,
Ultra Naté,
Byron Stingily,
Todd Rundgren,
Tim Buckley,
Monolake,
The Alarm Clocks,
Kauko Röyhkä ja Narttu,
Gian Franco Pienzio,
Derrick Morgan,
The Flesh Eaters,
The Mojo Men,
Accadde A,
T. Rex,
Roger Hodgson,
Kool G Rap & DJ Polo,
Porter Ricks,
Rowland S Howard / Lydia Lunch,
Lakeside,
Rhythim Is Rhythim,
Ossler,
Masters at Work,
Sun Ra,
The Star Department,
Stetsasonic,
Basic Channel,
Nick Fraelich,
Unrelated Segments,
The Young Rascals,
Magazine,
EPMD,
Sad Lovers and Giants,
Be Bop Deluxe,
Pierre Henry,
The Pretty Things,
Boz Scaggs,
Johnny Osbourne,
Visionaries,LMNO, T- Love & Iriscience,
The Sisters of Mercy,
Sun City Girls,
the Swans,
Q65,
The Angels of Light, The Angels of Light, The Angels of Light, The Angels of Light.
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.