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 Burundi 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 1967 to 1970.
I'm losing my edge.
To all the kids in Copenhagen and Lille.
I'm losing my edge to the art-school Edmonton 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 clarinet 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 Warsaw to the rock 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 Ronan. All the underground hits.
All The Velvet Underground tracks. I heard you have a vinyl of every Vaughan Mason & Crew 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 '80s cut and another box set from the '70s.
I hear you're buying a guitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy's Rubber Band record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
In Retrospect,
Amon Düül II,
Al Stewart,
Danielle Patucci,
Mary Jane Girls,
The Birthday Party,
Gregory Isaacs,
Patti Smith,
The Smiths,
the Soft Cell,
Lee Hazlewood,
Ultra Naté,
The Human League,
The Monks,
Symarip,
Pantytec,
Crispian St. Peters,
Crime,
The Pretty Things,
Youth Brigade,
Ultimate Spinach,
Harpers Bizarre,
Gil Scott-Heron and Jamie xx,
The Stooges,
The Techniques,
Average White Band,
Gang Green,
Model 500,
Kango’s Stein Massive,
Cymande,
Crispy Ambulance,
Eli Mardock,
Gian Franco Pienzio,
Nation of Ulysses,
The Motions,
Kerri Chandler,
Stereo Dub,
Laurel Aitken,
Little Man,
The Raincoats,
Grauzone,
The Standells,
Captain Beefheart & His Magic Band,
A Certain Ratio,
Tres Demented,
The Divine Comedy,
Silicon Teens,
Rosa Yemen,
Terry Callier,
Strawberry Alarm Clock,
The Royal Family And The Poor,
Adolescents,
Eurythmics,
Eve St. Jones,
Lou Reed & John Cale,
David Bowie,
Ultramagnetic MC's,
Bill Wells,
Soft Machine,
Lou Christie, Lou Christie, Lou Christie, Lou Christie.
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.