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 Switzerland 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 1960 to 1972.
I'm losing my edge.
To all the kids in Stockholm and Salvador.
I'm losing my edge to the art-school Tehran 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 organ sounds with much patience.
I was there when Robert Palmer 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 Stockholm Monsters to the rock 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 David Bowie. All the underground hits.
All Fifty Foot Hose tracks. I heard you have a vinyl of every Boredoms record on German import.
I heard that you have a white label of every seminal electroclash 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 harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Orchestral Manoeuvres in the Dark record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mandrill,
Ken Boothe,
Scratch Acid,
Liaisons Dangereuses,
The Durutti Column,
Circle Jerks,
Pulsallama,
Talk Talk,
Niagra,
Vladislav Delay,
Wally Richardson,
Quando Quango,
The Motions,
June of 44,
Amon Düül,
Black Sheep,
Yaz,
Blancmange,
Half Japanese,
Quantec,
Neil Young,
Aloha Tigers,
Black Flag,
Selector Dub Narcotic,
Delta 5,
Lucky Dragons,
The Young Rascals,
Aaron Thompson,
The Victims,
Nils Olav,
Rod Modell,
Funky Four + One,
LL Cool J,
8 Eyed Spy,
The Standells,
Black Bananas,
The Dead C,
Chris Corsano,
Scott Walker,
Delon & Dalcan,
F. McDonald,
D'Angelo,
The Pop Group,
Warsaw,
Crash Course in Science,
Slave,
Trumans Water,
The Cure,
Wasted Youth,
Judy Mowatt,
Tears for Fears,
Negative Approach,
The American Breed,
Freddie Wadling,
Deakin,
Connie Case,
Beasts of Bourbon,
Essential Logic,
Bad Manners,
Kerrie Biddell,
Lakeside,
Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch.
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.