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 Sweden and from Cairo.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Sao Paulo and Tehran.
I'm losing my edge to the art-school Lyon 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 guitar 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 Crispian St. Peters to the punk 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 The Gap Band. All the underground hits.
All Ten City tracks. I heard you have a vinyl of every Marc Almond 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 '90s.
I hear you're buying a clarinet and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Jesper Dahlbäck record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter Gordon & Love of Life Orchestra,
Basic Channel,
Pere Ubu,
John Cale,
Slick Rick,
Ornette Coleman,
Underground Resistance,
The Durutti Column,
Roxette,
La Düsseldorf,
Nick Cave & The Bad Seeds,
Lightning Bolt,
Connie Case,
John Lydon,
The Monochrome Set,
Bang on a Can All-Stars,
Peter and Kerry,
Inner City,
China Crisis,
Siouxsie and the Banshees,
Angry Samoans,
Jerry Gold Smith,
Bauhaus,
Dead Boys,
The Flesh Eaters,
KRS-One,
The Mighty Diamonds,
Kas Product,
Don Cherry,
Tres Demented,
Theoretical Girls,
Guru Guru,
Anakelly,
Desert Stars,
Electric Light Orchestra,
CMW,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Joensuu 1685,
The Alarm Clocks,
H. Thieme,
Aloha Tigers,
Sonny Sharrock,
Gichy Dan,
Stockholm Monsters,
Alison Limerick,
K-Klass,
June of 44,
The Tremeloes,
Nik Kershaw,
Delon & Dalcan,
The Sound,
Gerry Rafferty,
The Barracudas,
Loose Ends,
Blancmange,
Teenage Jesus and the Jerks,
The New Christs,
Ponytail,
Joe Finger,
John Holt, John Holt, John Holt, John Holt.
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.