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 Sudan and from Johannesburg.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Lagos and Stockholm.
I'm losing my edge to the art-school Paris 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the linndrum sounds with much patience.
I was there when Holger Czukay 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 Moleskins to the electroclash 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 Pantaleimon. All the underground hits.
All Althea and Donna tracks. I heard you have a vinyl of every Stockholm Monsters 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 '70s cut and another box set from the '70s.
I hear you're buying an organ and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Harpers Bizarre record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Monks,
H. Thieme,
The Remains,
Delon & Dalcan,
Black Flag,
The Doobie Brothers,
Wally Richardson,
Jesper Dahlback,
Rufus Thomas,
Ultramagnetic MC's,
Tears for Fears,
Basic Channel,
The Seeds,
Glambeats Corp.,
Hoover,
New Age Steppers,
Sound Behaviour,
Blossom Toes,
Surgeon,
Kurtis Blow,
Hashim,
EPMD,
The Skatalites,
Bauhaus,
Mr. Review,
Public Image Ltd.,
Aloha Tigers,
JFA,
Kerrie Biddell,
Porter Ricks,
Aswad,
Rosa Yemen,
Rotary Connection,
Todd Terry,
Warsaw,
Interpol,
Cabaret Voltaire,
Electric Prunes,
The Knickerbockers,
Dark Day,
The Sisters of Mercy,
Agitation Free,
Faraquet,
X-101,
T. Rex,
FM Einheit,
The Real Kids,
Mo-Dettes,
Make Up,
Babytalk,
Ken Boothe,
Sarah Menescal,
The Shadows of Knight,
Albert Ayler,
Ohio Players,
Peter Gordon & Love of Life Orchestra,
MDC,
Lower 48,
Soft Cell,
Marine Girls,
Stockholm Monsters,
Whodini, Whodini, Whodini, Whodini.
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.