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 Egypt and from Jakarta.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Portland and Accra.
I'm losing my edge to the art-school Seoul 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 1983 at the first Bronski Beat practice in a loft in Brixton.
I was working on the organ 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 Supertramp to the techno 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 Q and Not U. All the underground hits.
All The Jesus and Mary Chain tracks. I heard you have a vinyl of every Delon & Dalcan record on German import.
I heard that you have a white label of every seminal jazz 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 guitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Sugar Minott record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Royal Trux,
Neu!,
Icehouse,
Echospace,
The Beau Brummels,
Zero Boys,
Liaisons Dangereuses,
The Angels of Light,
Ludus,
Bill Near,
L. Decosne,
Symarip,
Sparks,
Alice Coltrane,
The Saints,
Richard Hell and the Voidoids,
Dark Day,
The Peanut Butter Conspiracy,
Grandmaster Flash,
De La Soul & Jungle Brothers,
Matthew Bourne,
Bauhaus,
Liliput,
The Mojo Men,
Ornette Coleman,
Ash Ra Tempel,
T. Rex,
Can,
Crooked Eye,
Silicon Teens,
Masters at Work,
David Axelrod,
Marine Girls,
The Searchers,
Moebius,
Swans,
Pharoah Sanders,
Wasted Youth,
Thinking Fellers Union Local 282,
The Motions,
Graham Central Station,
Faraquet,
Robert Hood,
Ten City,
Charles Mingus,
The Pop Group,
Prince Buster,
Desert Stars,
Agitation Free,
Sex Pistols,
Pharaoh Sanders and the Fire Engines,
David McCallum,
Piero Umiliani,
Mary Jane Girls,
Surgeon,
Faust,
Buzzcocks,
Parry Music,
Cabaret Voltaire,
Kurtis Blow,
The Star Department, The Star Department, The Star Department, The Star Department.
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.