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 Germany and from Bologna.
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 1971.
I'm losing my edge.
To all the kids in Lille and Bremen.
I'm losing my edge to the art-school Stockholm 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 1984 at the first Arcadia practice in a loft in London.
I was working on the mellotron 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 Dark Day to the dance kids.
I played it at the Hacienda.
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 Girls At Our Best!. All the underground hits.
All Camouflage tracks. I heard you have a vinyl of every Alphaville record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a clarinet and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Faraquet record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slave,
Kevin Saunderson,
Porter Ricks,
Make Up,
Pylon,
Crime,
The Dirtbombs,
The Sound,
The Seeds,
Blossom Toes,
Ice-T,
Unwound,
The Royal Family And The Poor,
Kenny Larkin,
the Sonics,
Howard Jones,
Art Ensemble Of Chicago,
Dual Sessions,
Vladislav Delay,
L. Decosne,
Todd Rundgren,
Morten Harket,
Crispy Ambulance,
Kool G Rap & DJ Polo,
Kauko Röyhkä ja Narttu,
Simply Red,
Alphaville,
Amon Düül II,
Bad Manners,
Jeru the Damaja,
Swans,
Moby Grape,
Malaria!,
K-Klass,
Sister Nancy,
Suburban Knight,
The Angels of Light,
Rites of Spring,
Masters at Work,
The Electric Prunes,
Bobbi Humphrey,
T. Rex,
Grandmaster Flash and the Furious Five,
The Knickerbockers,
Hashim,
LL Cool J,
The Birthday Party,
Steve Hackett,
Gang of Four,
Joensuu 1685,
World's Most,
Pulsallama,
Deepchord,
John Coltrane,
8 Eyed Spy,
The Cosmic Jokers,
The Slits,
Bootsy's Rubber Band,
Freddie Wadling,
Nation of Ulysses,
Nils Olav,
The Fortunes, The Fortunes, The Fortunes, The Fortunes.
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.