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 Hungary and from Cairo.
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 1970.
I'm losing my edge.
To all the kids in Manchester and Lagos.
I'm losing my edge to the art-school Bologna 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 1984 at the first Arcadia practice in a loft in London.
I was working on the spring reverb sounds with much patience.
I was there when Michael McDonald 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 Slave to the electroclash kids.
I played it at Trash.
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 Barry Ungar. All the underground hits.
All Bobbi Humphrey tracks. I heard you have a vinyl of every Make Up record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Notorious BIG live in Amsterdam 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?
Radiohead,
Vladislav Delay,
John Foxx,
The J.B.'s,
Basic Channel,
Janne Schatter,
The Saints,
China Crisis,
Barry Ungar,
Buzzcocks,
Gong,
Harpers Bizarre,
Technova,
Eddi Front,
The Knickerbockers,
Fela Kuti,
Wally Richardson,
Prince Buster,
Josef K,
Roxette,
Junior Murvin,
The Cowsills,
The Gun Club,
Mission of Burma,
DeepChord presents Echospace,
Sam Rivers,
Robert Görl,
Wasted Youth,
the Sonics,
Echospace,
Ultramagnetic MC's,
X-Ray Spex,
CMW,
Joe Smooth,
The Star Department,
Aural Exciters,
Cal Tjader,
Make Up,
The Smoke,
The Doors,
Hot Snakes,
Excepter,
Anakelly,
John Lydon,
Liaisons Dangereuses,
The Misunderstood,
June of 44,
Alton Ellis,
Howard Jones,
Neil Young & Crazy Horse,
Audionom,
The Kinks,
The Doobie Brothers,
Justin Hinds & The Dominoes,
Babytalk,
Unwound,
The Monochrome Set,
The Flesh Eaters,
Traffic Nightmare,
Scientists,
Stiv Bators, Stiv Bators, Stiv Bators, Stiv Bators.
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.