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 Ukraine and from Shanghai.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Johannesburg and Milan.
I'm losing my edge to the art-school Hong Kong 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 synthesizer 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 Slackers to the electroclash 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 Theoretical Girls. All the underground hits.
All The Dead C tracks. I heard you have a vinyl of every Liaisons Dangereuses record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a rhodes and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a AZ record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New Order,
Matthew Halsall,
X-Ray Spex,
Siouxsie and the Banshees,
Matthew Bourne,
The Leaves,
The Flesh Eaters,
Jerry's Kids,
This Heat,
Brand Nubian,
Angry Samoans,
Ohio Players,
Alphaville,
Gregory Isaacs,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Modern Lovers,
Archie Shepp,
the Germs,
Kings Of Tomorrow,
Quando Quango,
Boogie Down Productions,
the Soft Cell,
FM Einheit,
the Fania All-Stars,
Derrick Morgan,
Bill Wells,
the Bar-Kays,
Nils Olav,
Angels of Light & Akron/Family,
Flipper,
Nation of Ulysses,
Patti Smith,
Joyce Sims,
Kayak,
Country Teasers,
Livin' Joy,
Wighnomy Brothers & Robag Wruhme,
Urselle,
Motorama,
Big Daddy Kane,
Rites of Spring,
Slave,
Gichy Dan,
Lakeside,
Lalo Schifrin,
Black Flag,
Lizzy Mercier Descloux,
The Royal Family And The Poor,
Rod Modell,
Boredoms,
Man Parrish,
Lungfish,
Soft Machine,
The Real Kids,
Organ,
Richard Hell and the Voidoids,
Amon Düül,
Sugar Minott,
Oneida, Oneida, Oneida, Oneida.
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.