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 Uzbekistan and from Edmonton.
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 1976.
I'm losing my edge.
To all the kids in Lagos and Manchester.
I'm losing my edge to the art-school Halifax 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 1983 at the first Bronski Beat practice in a loft in Brixton.
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 Moss Icon to the dance kids.
I played it at the Hacienda.
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 Marmalade. All the underground hits.
All Crime tracks. I heard you have a vinyl of every Vladislav Delay record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Associates record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gerry Rafferty,
Be Bop Deluxe,
The United States of America,
Joe Smooth,
Guru Guru,
Ice-T,
Jacob Miller,
Pole,
Mission of Burma,
Massinfluence,
Fear,
The Peanut Butter Conspiracy,
Wire,
The Selecter,
Wighnomy Brothers & Robag Wruhme,
David McCallum,
China Crisis,
Fifty Foot Hose,
Malaria!,
Man Eating Sloth,
Con Funk Shun,
Mary Jane Girls,
Gil Scott-Heron and Jamie xx,
Pagans,
The Cramps,
The Human League,
X-101,
Symarip,
Ossler,
Avey Tare,
Strawberry Alarm Clock,
DeepChord presents Echospace,
Chris Corsano,
Pete Rock & C.L. Smooth,
Royal Trux,
Eli Mardock,
John Coltrane,
Monks,
June Days,
Tears for Fears,
The Gap Band,
Yusef Lateef,
Dennis Brown,
Marshall Jefferson,
The Kinks,
Juan Atkins,
Masters at Work,
DJ Sneak,
Bizarre Inc.,
Peter & Gordon,
Sällskapet,
Rufus Thomas,
John Lydon,
Captain Beefheart & His Magic Band,
CMW,
Glenn Branca,
Jimmy McGriff,
The Blues Magoos,
Simply Red,
Camberwell Now,
Morten Harket,
Aural Exciters, Aural Exciters, Aural Exciters, Aural Exciters.
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.