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 Sudan and from Edmonton.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Tokyo and Spokane.
I'm losing my edge to the art-school Mumbai 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 linndrum 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 Peter & Gordon to the techno kids.
I played it at Cafe Wha.
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 Traffic Nightmare. All the underground hits.
All Bizarre Inc. tracks. I heard you have a vinyl of every Robert Wyatt record on German import.
I heard that you have a white label of every seminal dance 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 theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Wally Richardson record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hoover,
Sex Pistols,
Eurythmics,
Idris Muhammad,
Black Bananas,
Vaughan Mason & Crew,
Ossler,
Von Mondo,
Ultravox,
Kings Of Tomorrow,
Severed Heads,
The Sound,
June of 44,
The Gories,
MDC,
Fat Boys,
X-102,
The Zeros,
Barbara Tucker,
A Flock of Seagulls,
Japan,
Black Sheep,
Susan Cadogan,
The Saints,
Rosa Yemen,
Throbbing Gristle,
Jesper Dahlbäck,
Jeru the Damaja,
Radio Birdman,
Aaron Thompson,
Deepchord,
Subhumans,
Camouflage,
Sällskapet,
Groovy Waters,
Infiniti,
The Real Kids,
Masters at Work,
The Count Five,
The American Breed,
Depeche Mode,
The Men They Couldn't Hang,
Dennis Brown,
Gang Green,
Tim Buckley,
The Fire Engines,
Flash Fearless,
Model 500,
The Mojo Men,
Roxette,
the Fania All-Stars,
Angels of Light & Akron/Family,
EPMD,
Neil Young & Crazy Horse,
Jerry Gold Smith,
Althea and Donna,
Grandmaster Flash and the Furious Five,
Youth Brigade,
Section 25,
The Cosmic Jokers, The Cosmic Jokers, The Cosmic Jokers, The Cosmic Jokers.
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.