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 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 1969 to 1970.
I'm losing my edge.
To all the kids in Manchester and New York.
I'm losing my edge to the art-school Shanghai 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 Buzzcocks practice in a loft in Bolton.
I was working on the marimba sounds with much patience.
I was there when Tom Verlaine 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 Susan Cadogan to the rock 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 Arcadia. All the underground hits.
All Traffic Nightmare tracks. I heard you have a vinyl of every L. Decosne 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 '90s.
I hear you're buying a synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a the Germs record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
The Selecter,
Franke,
Neil Young & Crazy Horse,
Monks,
The Cure,
Ultravox,
Ice-T,
Adolescents,
Marine Girls,
Stockholm Monsters,
Yellowson,
Anakelly,
K-Klass,
Lebanon Hanover,
Arcadia,
Rod Modell,
Sun Ra Arkestra,
Tomorrow,
Mission of Burma,
Chris Corsano,
The Fugs,
The Shadows of Knight,
Lower 48,
Johnny Clarke,
Sparks,
Gregory Isaacs,
Mr. Review,
Soul II Soul,
Ludus,
Blancmange,
Echospace,
The Happenings,
The Zeros,
Jesper Dahlback,
Flamin' Groovies,
R.M.O.,
Kurtis Blow,
The Sound,
Sexual Harrassment,
The Raincoats,
Kings Of Tomorrow,
Black Pus,
Siglo XX,
Essential Logic,
Heaven 17,
Ultimate Spinach,
MC5,
The Music Machine,
Bronski Beat,
Tubeway Army,
Glambeats Corp.,
EPMD,
LL Cool J,
Nick Cave & The Bad Seeds,
The Peanut Butter Conspiracy,
Roger Hodgson,
Groovy Waters,
Carl Craig,
Camron Feat. Memphis Bleek And Beenie Seigel,
Hashim,
Suburban Knight,
The United States of America, The United States of America, The United States of America, The United States of America.
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.