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 Eritrea and from Manila.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Beijing and Mumbai.
I'm losing my edge to the art-school Lyon 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 harpsichord sounds with much patience.
I was there when Robert Palmer 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 Toasters to the crunk 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 Technova. All the underground hits.
All The Durutti Column tracks. I heard you have a vinyl of every Girls At Our Best! 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 '70s cut and another box set from the '90s.
I hear you're buying a marimba and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Laurel Aitken record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Inner City,
Liliput,
Red Lorry Yellow Lorry,
Motorama,
Chrome,
The Monks,
Quando Quango,
Girls At Our Best!,
Alice Coltrane,
Blake Baxter,
Anthony Braxton,
The Move,
Maurizio,
Rotary Connection,
Sun City Girls,
Model 500,
Neu!,
The Barracudas,
Rakim,
Wasted Youth,
Sexual Harrassment,
Howard Jones,
Ultravox,
Pole,
kango's stein massive,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Youth Brigade,
Lindisfarne,
Little Man,
Technova,
Lizzy Mercier Descloux,
PIL,
The Music Machine,
Grey Daturas,
The Doors,
Deadbeat,
Loose Ends,
Stiv Bators,
Camberwell Now,
Stereo Dub,
Silicon Teens,
The Slits,
A Certain Ratio,
Joe Finger,
Jawbox,
The Shadows of Knight,
The Monochrome Set,
Liaisons Dangereuses,
Blossom Toes,
Black Moon,
Quadrant,
Livin' Joy,
Kool Moe Dee,
Spoonie Gee,
a-ha,
Laurel Aitken,
Jacob Miller,
Judy Mowatt,
Sound Behaviour,
The Blackbyrds,
The Dead C, The Dead C, The Dead C, The Dead C.
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.