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 Suriname and from Tehran.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Shanghai and New York.
I'm losing my edge to the art-school Spokane 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the synthesizer 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 Orchestral Manoeuvres in the Dark to the techno kids.
I played it at CBGB's.
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 The Fortunes. All the underground hits.
All Nick Fraelich tracks. I heard you have a vinyl of every Sun Ra record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
World's Most,
Gang Green,
Flamin' Groovies,
X-102,
CMW,
Soft Machine,
Morten Harket,
Ten City,
Symarip,
The Fall,
Sad Lovers and Giants,
Mad Mike,
Spoonie Gee,
Deepchord,
The Slackers,
the Soft Cell,
Whodini,
Quadrant,
Icehouse,
Terrestrial Tones,
Röyhkä ja Rättö ja Lehtisalo,
Soul II Soul,
Frankie Knuckles,
Radio Birdman,
Richard Hell and the Voidoids,
The Remains,
Lyres,
Hasil Adkins,
Roy Ayers Ubiquity,
Smog,
Kerrie Biddell,
Arab on Radar,
Dave Gahan,
Judy Mowatt,
Marc Almond,
Skarface,
Hot Snakes,
Khruangbin,
Ronnie Foster,
Steve Hackett,
Boogie Down Productions,
Reagan Youth,
Ossler,
the Human League,
Bob Dylan,
Super Lover Cee & Casanova Rud,
Quando Quango,
Major Organ And The Adding Machine,
The Leaves,
Bauhaus,
Todd Rundgren,
The Star Department,
Clear Light,
Warren Ellis,
Beasts of Bourbon,
Faraquet,
Das Ding,
Amazonics,
The New Christs,
Eddi Front,
Popol Vuh, Popol Vuh, Popol Vuh, Popol Vuh.
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.