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 Grenada and from New York.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Houston and Portland.
I'm losing my edge to the art-school New York 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 linndrum sounds with much patience.
I was there when Tom Verlaine 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 Jacob Miller to the rap kids.
I played it at Cafe Wha.
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 Notorious BIG live in Amsterdam. All the underground hits.
All Monolake tracks. I heard you have a vinyl of every Ice-T record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a sitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dawn Penn,
Sun City Girls,
Lalann,
Interpol,
Henry Cow,
Gian Franco Pienzio,
Marshall Jefferson,
PIL,
Wings,
Fluxion,
Spandau Ballet,
Television Personalities,
Prince Buster,
Bootsy's Rubber Band,
Rod Modell,
Terry Callier,
Silicon Teens,
The Busters,
U.S. Maple,
Jerry Gold Smith,
One Last Wish,
Major Organ And The Adding Machine,
David Axelrod,
Colin Newman,
Parry Music,
Scion,
Altered Images,
Neu!,
Bizarre Inc.,
Quantec,
Second Layer,
Hardrive,
Brick,
The Young Rascals,
Faraquet,
Mary Jane Girls,
Gastr Del Sol,
OOIOO,
Susan Cadogan,
Au Pairs,
Loose Ends,
Juan Atkins,
Sex Pistols,
Kenny Larkin,
The Divine Comedy,
Oppenheimer Analysis,
Lungfish,
The Knickerbockers,
the Human League,
Television,
Deakin,
The Shadows of Knight,
Gang Green,
Inner City,
FM Einheit,
Roy Ayers,
Barbara Tucker,
Big Daddy Kane,
Half Japanese, Half Japanese, Half Japanese, Half Japanese.
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.