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 Mongolia and from Copenhagen.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Johannesburg and Paris.
I'm losing my edge to the art-school Halifax 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 spring reverb 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 Public Image Ltd. 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 Thee Headcoats. All the underground hits.
All Popol Vuh tracks. I heard you have a vinyl of every Marc Almond 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 '50s cut and another box set from the '70s.
I hear you're buying a güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Remains record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Infiniti,
The Slits,
Fort Wilson Riot,
the Swans,
Barrington Levy,
David Bowie,
Zapp,
Fela Kuti,
Lou Reed & Metallica,
UT,
Index,
Big Daddy Kane,
Stiv Bators,
Schoolly D,
June of 44,
Kool Moe Dee,
These Immortal Souls,
ABC,
New Age Steppers,
The Saints,
Notorious BIG live in Amsterdam,
Siouxsie and the Banshees,
Arcadia,
Eric Copeland,
the Soft Cell,
Ronnie Foster,
Deakin,
Yaz,
The Mummies,
Andrew Hill,
Nirvana,
Yellowson,
The Smiths,
48th St. Collective,
Bauhaus,
Camron Feat. Memphis Bleek And Beenie Seigel,
Cabaret Voltaire,
Unrelated Segments,
Red Lorry Yellow Lorry,
Scott Walker,
Jeru the Damaja,
The Golliwogs,
Sound Behaviour,
Sixth Finger,
Bad Manners,
Larry & the Blue Notes,
Theoretical Girls,
Crooked Eye,
Godley & Creme,
Fad Gadget,
Echo & the Bunnymen,
The Buckinghams,
The Stooges,
Kango’s Stein Massive,
Negative Approach,
H. Thieme,
the Normal,
Harry Pussy,
the Fania All-Stars,
Ituana,
Rites of Spring,
Bootsy's Rubber Band, Bootsy's Rubber Band, Bootsy's Rubber Band, Bootsy's Rubber Band.
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.