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 Liechtenstein and from Accra.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Taipei and Taipei.
I'm losing my edge to the art-school Lille 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the oboe sounds with much patience.
I was there when David Bowie 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 Glambeats Corp. to the dance kids.
I played it at the Astoria.
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 Bill Wells. All the underground hits.
All Quando Quango tracks. I heard you have a vinyl of every Scott Walker 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 '60s cut and another box set from the '70s.
I hear you're buying an organ and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a In Retrospect record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultravox,
Massinfluence,
The Real Kids,
Faust,
Bob Dylan,
Roy Ayers Ubiquity,
X-101,
Larry & the Blue Notes,
The Kinks,
The Neon Judgement,
Junior Murvin,
Andrew Ashong & Theo Parrish,
Scientists,
Minor Threat,
The Offenders,
Girls At Our Best!,
Camouflage,
The Fire Engines,
Michelle Simonal,
Rakim,
Don Cherry,
Ronnie Foster,
Swans,
Agitation Free,
Unrelated Segments,
Lindisfarne,
Monks,
John Foxx,
Reuben Wilson,
Newcleus,
Alison Limerick,
DJ Sneak,
Jandek,
Patti Smith,
D'Angelo,
Alice Coltrane,
Ohio Players,
Von Mondo,
Pet Shop Boys,
Excepter,
OOIOO,
Q and Not U,
The Beau Brummels,
Icehouse,
David McCallum,
X-102,
kango's stein massive,
Gastr Del Sol,
Zero Boys,
The Mojo Men,
Neu!,
The Cramps,
Shuggie Otis,
Whodini,
The New Christs,
Pere Ubu,
Joensuu 1685,
UT,
Swell Maps,
Delon & Dalcan,
Tomorrow,
ABC,
Underground Resistance, Underground Resistance, Underground Resistance, Underground Resistance.
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.