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 Barbados and from Lagos.
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 1974.
I'm losing my edge.
To all the kids in Lagos and Tehran.
I'm losing my edge to the art-school Toronto 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the güiro sounds with much patience.
I was there when Lou Reed 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 Procol Harum to the funk kids.
I played it at the 40 Watt.
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 The Monochrome Set. All the underground hits.
All Zapp tracks. I heard you have a vinyl of every Chrome record on German import.
I heard that you have a white label of every seminal grunge 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 an organ and are throwing your macbook out the window because you want to make something real. You want to make a Underground Resistance record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
These Immortal Souls,
Notorious Big And Bone Thugs,
James Chance & The Contortions,
Peter & Gordon,
Letta Mbulu,
Quando Quango,
Echo & the Bunnymen,
Country Joe & The Fish,
PIL,
Bluetip,
Jandek,
Ronnie Foster,
Pharaoh Sanders and the Fire Engines,
Massinfluence,
the Human League,
The Move,
Lindisfarne,
Main Source,
Goldenarms,
The Misunderstood,
Mr. Review,
Buzzcocks,
The Velvet Underground,
The Sisters of Mercy,
The Buckinghams,
The Trojans,
Q65,
CMW,
Heaven 17,
The Cosmic Jokers,
Second Layer,
Stetsasonic,
Cabaret Voltaire,
Nick Fraelich,
the Slits,
Rites of Spring,
DJ Style,
The Modern Lovers,
The Pop Group,
Infiniti,
The Cure,
Masters at Work,
Television Personalities,
Yellowson,
Terry Callier,
Mad Mike,
UT,
Soul II Soul,
Liliput,
JFA,
Dawn Penn,
Judy Mowatt,
Kerrie Biddell,
Davy DMX,
Minnie Riperton,
Wire,
Ultramagnetic MC's,
Mark Hollis,
Sarah Menescal,
Fugazi,
Gong,
June Days,
Jawbox,
Minny Pops, Minny Pops, Minny Pops, Minny Pops.
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.