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 Mauritania and from Stockholm.
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 1979.
I'm losing my edge.
To all the kids in Portland and Houston.
I'm losing my edge to the art-school Mexico City 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 chamberlin 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 Can to the jazz kids.
I played it at Trash.
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 Kas Product. All the underground hits.
All Average White Band tracks. I heard you have a vinyl of every Frankie Knuckles record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The United States of America record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Richard Hell and the Voidoids,
Soul Sonic Force,
Ultravox,
Rufus Thomas,
Yellowson,
The Mojo Men,
The Flesh Eaters,
Massinfluence,
Black Moon,
Jeru the Damaja,
Interpol,
Bob Dylan,
The Divine Comedy,
The Black Dice,
Ultimate Spinach,
The Names,
Gil Scott Heron,
Kauko Röyhkä ja Narttu,
Dual Sessions,
Jesper Dahlback,
Hot Snakes,
Andrew Hill,
The Blues Magoos,
Shoche,
David Bowie,
Fugazi,
Neil Young,
Alice Coltrane,
Pete Rock & C.L. Smooth,
Grey Daturas,
Radio Birdman,
The Wake,
Tropical Tobacco,
Big Daddy Kane,
Lou Christie,
Angry Samoans,
Yaz,
Visage,
The Mummies,
Iggy Pop,
Erasure,
Orchestral Manoeuvres in the Dark,
The Dirtbombs,
Eden Ahbez,
Kango’s Stein Massive,
Yazoo,
Sarah Menescal,
Godley & Creme,
June of 44,
Adolescents,
Minny Pops,
Procol Harum,
Rowland S Howard / Lydia Lunch,
Flamin' Groovies,
Lizzy Mercier Descloux,
Ponytail,
Blossom Toes,
Kenny Larkin,
Moby Grape,
Shuggie Otis,
Deadbeat,
Vaughan Mason & Crew,
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.