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 South Africa 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 1977.
I'm losing my edge.
To all the kids in Beijing and Manila.
I'm losing my edge to the art-school Columbus 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 Holger Czukay 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 Eve St. Jones to the disco kids.
I played it at the 40 Watt.
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 A Flock of Seagulls. All the underground hits.
All Lungfish tracks. I heard you have a vinyl of every Terry Callier 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 '60s cut and another box set from the '70s.
I hear you're buying a güiro and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Crispian St. Peters record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jacques Brel,
The Beau Brummels,
Marmalade,
Ultravox,
Simply Red,
Andrew Ashong & Theo Parrish,
MDC,
Depeche Mode,
Brothers Johnson,
Quantec,
Livin' Joy,
Von Mondo,
Marc Almond,
A Certain Ratio,
Rufus Thomas,
Siglo XX,
Deakin,
Organ,
The Saints,
The Techniques,
The Real Kids,
Funkadelic,
David Axelrod,
Oppenheimer Analysis,
Pete Rock & C.L. Smooth,
Saccharine Trust,
Althea and Donna,
Altered Images,
Jerry Gold Smith,
Gil Scott-Heron & Brian Jackson,
The Dirtbombs,
Bob Dylan,
Electric Light Orchestra,
DJ Style,
The Count Five,
U.S. Maple,
Pierre Henry,
The Happenings,
Sister Nancy,
The Litter,
Anthony Braxton,
Major Organ And The Adding Machine,
Fad Gadget,
Nirvana,
Lizzy Mercier Descloux,
D'Angelo,
Kings Of Tomorrow,
FM Einheit,
Nils Olav,
Hot Snakes,
X-Ray Spex,
Notorious BIG live in Amsterdam,
ABBA,
Angels of Light & Akron/Family,
Banda Bassotti,
Max Romeo,
The Remains,
Dennis Brown,
Glenn Branca,
The Jesus and Mary Chain,
Frankie Knuckles,
The Birthday Party,
New Age Steppers,
The Wake, The Wake, The Wake, The Wake.
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.