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 Ecuador and from Philadelphia.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Jakarta and Manchester.
I'm losing my edge to the art-school Paris 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 1978 at the first Visage practice in a loft in London.
I was working on the chamberlin 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 Heavy D & The Boyz to the techno 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 Major Organ And The Adding Machine. All the underground hits.
All The Saints tracks. I heard you have a vinyl of every Simply Red record on German import.
I heard that you have a white label of every seminal dance 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 linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Japan record.
I hear that you and your band have sold your sitar and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythm & Sound,
The Jesus and Mary Chain,
Kool Moe Dee,
Intrusion,
James White and The Blacks,
H. Thieme,
Kool G Rap & DJ Polo,
Echo & the Bunnymen,
The Litter,
Blancmange,
Bobby Byrd,
Super Lover Cee & Casanova Rud,
Clear Light,
Electric Light Orchestra,
Crooked Eye,
Shuggie Otis,
48th St. Collective,
Camberwell Now,
Kango’s Stein Massive,
Kaleidoscope,
Gichy Dan,
Marcia Griffiths,
Gang of Four,
Bootsy's Rubber Band,
Al Stewart,
Bobby Sherman,
Easy Going,
Half Japanese,
Quantec,
Jandek,
Faraquet,
Sun City Girls,
Steve Hackett,
Country Teasers,
The Happenings,
The Count Five,
Flamin' Groovies,
Lebanon Hanover,
Lakeside,
Camouflage,
Mantronix,
Rekid,
The Trojans,
The Men They Couldn't Hang,
The American Breed,
Pere Ubu,
Bootsy Collins,
Crispian St. Peters,
The Dirtbombs,
Gerry Rafferty,
Richard Hell and the Voidoids,
Masters at Work,
The Black Dice,
Goldenarms,
L. Decosne,
Mad Mike,
Ponytail,
Art Ensemble Of Chicago,
Kenny Larkin,
Deutsch Amerikanische Freundschaft,
Anakelly, Anakelly, Anakelly, Anakelly.
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.