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 Vanuatu and from Manchester.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Beijing and Edmonton.
I'm losing my edge to the art-school Halifax 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 Wire practice in a loft in Watford.
I was working on the rhodes sounds with much patience.
I was there when Lou Reed 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 The Count Five to the techno kids.
I played it at Trash.
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 Liaisons Dangereuses. All the underground hits.
All Graham Central Station tracks. I heard you have a vinyl of every Sixth Finger 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 '90s.
I hear you're buying a marimba and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Barry Ungar record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stiv Bators,
Archie Shepp,
Ultramagnetic MC's,
The Victims,
The Young Rascals,
Spandau Ballet,
Bronski Beat,
Sugar Minott,
Ohio Players,
Mark Hollis,
Rakim,
Tropical Tobacco,
The Fire Engines,
T.S.O.L.,
Kerrie Biddell,
Adolescents,
Moebius,
Quadrant,
The Real Kids,
Skaos,
Barclay James Harvest,
Ten City,
Funky Four + One,
Alphaville,
Gabor Szabo,
the Human League,
Deadbeat,
Danielle Patucci,
Sandy B,
Boredoms,
Nick Fraelich,
Toni Rubio,
Tubeway Army,
Gian Franco Pienzio,
Lee Hazlewood,
Avey Tare,
PIL,
Vladislav Delay,
The Remains,
Los Fastidios,
Ken Boothe,
Bauhaus,
Kerri Chandler,
DeepChord presents Echospace,
AZ,
Gastr Del Sol,
Blake Baxter,
Radio Birdman,
New York Dolls,
Fatback Band,
James Chance & The Contortions,
Television,
The Sonics,
Fugazi,
The Fuzztones,
Chrome,
Barbara Tucker,
Section 25,
The Modern Lovers,
Eddi Front,
The Monochrome Set, The Monochrome Set, The Monochrome Set, The Monochrome Set.
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.