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 Nepal and from Lyon.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Accra and Madrid.
I'm losing my edge to the art-school Winnipeg 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 mellotron 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 Stiv Bators to the grime kids.
I played it at the Spitz.
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 Spandau Ballet. All the underground hits.
All Monks tracks. I heard you have a vinyl of every The Alarm Clocks 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 '50s cut and another box set from the '90s.
I hear you're buying a linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Slave record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Whodini,
Eric B and Rakim,
The Pop Group,
Wire,
Joyce Sims,
The Angels of Light,
The Residents,
Pole,
The Index,
T.S.O.L.,
Deepchord,
La Düsseldorf,
Sunsets and Hearts,
ABBA,
Popol Vuh,
Bobby Hutcherson,
Sun City Girls,
Rhythim Is Rhythim,
The Men They Couldn't Hang,
Intrusion,
The Blues Magoos,
Arab on Radar,
Bang On A Can,
Deakin,
The Jesus and Mary Chain,
Faraquet,
Eve St. Jones,
Terry Callier,
Erasure,
Neil Young & Crazy Horse,
Chris & Cosey,
Lindisfarne,
Warsaw,
Warren Ellis,
Icehouse,
Swans,
Lou Reed & Metallica,
Nirvana,
Lyres,
Sixth Finger,
Nils Olav,
New Order,
Joensuu 1685,
Anakelly,
The Seeds,
Thinking Fellers Union Local 282,
The Stooges,
Barclay James Harvest,
Desert Stars,
Johnny Clarke,
Fear,
Skriet,
X-101,
Sällskapet,
The American Breed,
Ohio Players,
Bootsy Collins,
Public Image Ltd.,
Ossler,
Teenage Jesus and the Jerks,
Cybotron,
Marc Almond, Marc Almond, Marc Almond, Marc Almond.
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.