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 Maldives and from Lagos.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Lille and Tokyo.
I'm losing my edge to the art-school Manchester 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 linndrum sounds with much patience.
I was there when Captain Beefheart 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 the Germs to the dance 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 Grandmaster Flash. All the underground hits.
All Eddi Front tracks. I heard you have a vinyl of every Q and Not U record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Monolake record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fort Wilson Riot,
Henry Cow,
Liaisons Dangereuses,
Deadbeat,
Sarah Menescal,
Danielle Patucci,
Lebanon Hanover,
Model 500,
Archie Shepp,
The Dave Clark Five,
China Crisis,
Electric Light Orchestra,
Derrick Morgan,
David McCallum,
The Modern Lovers,
Monks,
Faust,
Drive Like Jehu,
Sly & The Family Stone,
Pharaoh Sanders and the Fire Engines,
Blossom Toes,
Nils Olav,
New Order,
The Monks,
Brick,
Depeche Mode,
Adolescents,
The Neon Judgement,
Stereo Dub,
The Red Krayola,
Masters at Work,
Funky Four + One,
Lou Reed & Metallica,
Television,
Echo & the Bunnymen,
Chrome,
Supertramp,
Minor Threat,
Ice-T,
The Music Machine,
The Sisters of Mercy,
The Index,
Rufus Thomas,
Ash Ra Tempel,
Graham Central Station,
Peter & Gordon,
Swans,
Jesper Dahlback,
Make Up,
Todd Rundgren,
Stiv Bators,
Wasted Youth,
The Victims,
Goldenarms,
ABC,
Altered Images,
Isaac Hayes,
John Holt,
Pussy Galore,
X-Ray Spex,
Susan Cadogan,
Rites of Spring,
Q65, Q65, Q65, Q65.
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.