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 Uganda and from Tehran.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1979.
I'm losing my edge.
To all the kids in Philadelphia and Jakarta.
I'm losing my edge to the art-school New York 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 Wire practice in a loft in Watford.
I was working on the sitar sounds with much patience.
I was there when Lou Reed 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 Bobby Womack to the jazz 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 Skarface. All the underground hits.
All Rowland S Howard / Lydia Lunch tracks. I heard you have a vinyl of every Glenn Branca record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Porter Ricks record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aswad,
Visage,
Orchestral Manoeuvres in the Dark,
The Kinks,
Echospace,
Johnny Clarke,
Janne Schatter,
Sam Rivers,
Sight & Sound,
In Retrospect,
James Chance & The Contortions,
48th St. Collective,
Agent Orange,
The Victims,
Delta 5,
Jeff Lynne,
The Grass Roots,
Fear,
Jacques Brel,
Sex Pistols,
The Real Kids,
Vaughan Mason & Crew,
Glambeats Corp.,
Underground Resistance,
Little Man,
Brand Nubian,
Sarah Menescal,
Ice-T,
Chris & Cosey,
Tim Buckley,
Kauko Röyhkä ja Narttu,
Country Teasers,
The Count Five,
Rotary Connection,
World's Most,
KRS-One,
Notorious BIG live in Amsterdam,
Beasts of Bourbon,
ABC,
Derrick Morgan,
Nik Kershaw,
Electric Light Orchestra,
Jerry's Kids,
Amon Düül,
The Flesh Eaters,
Lou Reed & Metallica,
Toni Rubio,
Wasted Youth,
The Moody Blues,
Fela Kuti,
The Fugs,
Chrome,
Leonard Cohen,
Ultra Naté,
Mark Hollis,
Funky Four + One,
Whodini,
Manfred Mann's Earth Band,
Robert Görl,
Cybotron,
Liliput,
UT,
Trumans Water,
Magazine, Magazine, Magazine, Magazine.
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.