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 Philippines and from Lagos.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Toronto and Cairo.
I'm losing my edge to the art-school Copenhagen 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 guitar sounds with much patience.
I was there when Donald Fagen 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 Whodini to the electroclash kids.
I played it at the Roxy.
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 Fania All-Stars. All the underground hits.
All the Soft Cell tracks. I heard you have a vinyl of every Drive Like Jehu record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Modern Lovers,
Sly & The Family Stone,
The Monks,
the Normal,
Funkadelic,
Art Ensemble Of Chicago,
Half Japanese,
Andrew Ashong & Theo Parrish,
Royal Trux,
Laurel Aitken,
Lee Hazlewood,
The Gun Club,
Soft Cell,
The Cowsills,
Terry Callier,
Siouxsie and the Banshees,
Hardrive,
The Wake,
Moss Icon,
E-Dancer,
48th St. Collective,
Wighnomy Brothers & Robag Wruhme,
Los Fastidios,
Janne Schatter,
The Fall,
Althea and Donna,
Lizzy Mercier Descloux,
The Electric Prunes,
Zero Boys,
The Selecter,
Duran Duran,
Mad Mike,
Spoonie Gee,
The Moleskins,
Heaven 17,
Lou Reed & John Cale,
ABC,
Con Funk Shun,
Mo-Dettes,
The Seeds,
Crime,
The Smiths,
The Mummies,
Moebius,
ABBA,
Barry Ungar,
The Move,
Echo & the Bunnymen,
Bobbi Humphrey,
Jeff Mills,
Dual Sessions,
Yellowson,
DNA,
Rod Modell,
the Soft Cell,
Robert Görl,
Saccharine Trust,
Colin Newman,
Flash Fearless,
These Immortal Souls,
Rhythim Is Rhythim,
Lindisfarne, Lindisfarne, Lindisfarne, Lindisfarne.
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.