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 Turkey and from Lille.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Salvador and New York.
I'm losing my edge to the art-school Columbus 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 Captain Beefheart 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 Masters at Work to the rap kids.
I played it at Trash.
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 Trojans. All the underground hits.
All Tubeway Army tracks. I heard you have a vinyl of every Lee Hazlewood record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a linndrum and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a John Coltrane record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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?
ABC,
The Wake,
Essential Logic,
Rhythm & Sound,
Pet Shop Boys,
Lou Reed & John Cale,
Flipper,
Louis and Bebe Barron,
Basic Channel,
The Doobie Brothers,
The Remains,
Max Romeo,
Suicide,
Minor Threat,
LL Cool J,
Pete Rock & C.L. Smooth,
Bizarre Inc.,
Circle Jerks,
Fad Gadget,
Whodini,
Nation of Ulysses,
Ohio Players,
Youth Brigade,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Avey Tare & Kría Brekkan,
Make Up,
Crooked Eye,
Public Image Ltd.,
Deadbeat,
Frankie Knuckles,
The Gun Club,
Gong,
The Detroit Cobras,
Stetsasonic,
Andrew Ashong & Theo Parrish,
Roxy Music,
Todd Terry,
Metal Thangz,
Nik Kershaw,
The Fuzztones,
Nick Fraelich,
Steve Hackett,
Blancmange,
Tom Boy,
Arthur Verocai,
Mary Jane Girls,
The Black Dice,
MDC,
Cheater Slicks,
Donald Byrd,
The Stooges,
Q and Not U,
Blake Baxter,
Hardrive,
The West Coast Pop Art Experimental Band,
Grandmaster Flash and the Furious Five,
Freddie Wadling,
Manfred Mann's Earth Band,
Ultravox,
Loose Ends,
Gang of Four,
The Peanut Butter Conspiracy,
Glenn Branca, Glenn Branca, Glenn Branca, Glenn Branca.
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.