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 Jordan and from Salvador.
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 1978.
I'm losing my edge.
To all the kids in Tehran and Milan.
I'm losing my edge to the art-school Tokyo 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 sitar sounds with much patience.
I was there when Michael McDonald 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 Ultra Naté to the techno kids.
I played it at the Crocodile.
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 Faraquet. All the underground hits.
All Matthew Halsall tracks. I heard you have a vinyl of every L. Decosne record on German import.
I heard that you have a white label of every seminal electroclash 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 spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Anthony Braxton record.
I hear that you and your band have sold your synthesizer and bought an organ.
I hear that you and your band have sold your organ and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Lydon,
Traffic Nightmare,
The Last Poets,
The Seeds,
Strawberry Alarm Clock,
Marc Almond,
The Motions,
Eurythmics,
Tropical Tobacco,
The Blackbyrds,
Delon & Dalcan,
Skaos,
Major Organ And The Adding Machine,
Richard Hell and the Voidoids,
The Toasters,
Althea and Donna,
Mantronix,
Guru Guru,
K-Klass,
John Foxx,
Roxy Music,
Grandmaster Flash and the Furious Five,
Icehouse,
Crispy Ambulance,
Marvin Gaye,
Ituana,
Darondo,
Frankie Knuckles,
The Trojans,
Bobby Sherman,
Saccharine Trust,
Carl Craig,
Oblivians,
Johnny Osbourne,
Buzzcocks,
Harmonia,
The Barracudas,
One Last Wish,
Reagan Youth,
Gian Franco Pienzio,
Stetsasonic,
Dark Day,
Lou Christie,
Neu!,
Little Man,
Girls At Our Best!,
Eve St. Jones,
Deakin,
Von Mondo,
Sticky Fingaz feat. Raekwon,
Lou Reed & John Cale,
Stiv Bators,
the Bar-Kays,
Basic Channel,
Ludus,
Nils Olav,
Gil Scott-Heron and Jamie xx,
Avey Tare & Kría Brekkan,
Lalann,
Moebius,
Rhythim Is Rhythim,
Tomorrow, Tomorrow, Tomorrow, Tomorrow.
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.