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 Madagascar and from Bologna.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1977.
I'm losing my edge.
To all the kids in Tehran and Seoul.
I'm losing my edge to the art-school Portland 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 snare sounds with much patience.
I was there when David Bowie 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 Modern Lovers to the electroclash kids.
I played it at CBGB's.
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 Richard Hell and the Voidoids. All the underground hits.
All Lebanon Hanover tracks. I heard you have a vinyl of every Sun City Girls 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 '70s cut and another box set from the '80s.
I hear you're buying an organ and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Cramps record.
I hear that you and your band have sold your theremin and bought a sitar.
I hear that you and your band have sold your sitar and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Ashong & Theo Parrish,
DeepChord presents Echospace,
Bobby Sherman,
Niagra,
Drexciya,
Black Bananas,
Skriet,
New Age Steppers,
The Alarm Clocks,
Grandmaster Flash and the Furious Five,
Freddie Wadling,
It's A Beautiful Day,
Infiniti,
The Detroit Cobras,
Saccharine Trust,
The Fugs,
Camberwell Now,
Sonic Youth,
The Evens,
MC5,
Sugar Minott,
Clear Light,
Zapp,
The Flesh Eaters,
Monolake,
Das Ding,
Donald Byrd,
Roger Hodgson,
The Velvet Underground,
Magma,
Jeru the Damaja,
Nik Kershaw,
Brand Nubian,
Selector Dub Narcotic,
Minutemen,
Tomorrow,
Electric Light Orchestra,
Rowland S Howard / Lydia Lunch,
Harry Pussy,
China Crisis,
Fad Gadget,
Sister Nancy,
The Last Poets,
The Men They Couldn't Hang,
Nirvana,
The Selecter,
Brass Construction,
Black Moon,
Yazoo,
Big Daddy Kane,
Red Lorry Yellow Lorry,
Marine Girls,
Popol Vuh,
The Golliwogs,
Stetsasonic,
Negative Approach,
Television Personalities,
Aswad,
Rhythim Is Rhythim,
Terrestrial Tones,
Toni Rubio,
Depeche Mode, Depeche Mode, Depeche Mode, Depeche Mode.
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.