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 Cape Verde and from Tokyo.
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 1970.
I'm losing my edge.
To all the kids in Portland and Mexico City.
I'm losing my edge to the art-school Salvador 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 spring reverb 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 The Mummies to the electroclash 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 Harmonia. All the underground hits.
All The Star Department tracks. I heard you have a vinyl of every Mo-Dettes 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 '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Don Cherry record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Max Romeo,
The Monochrome Set,
The Velvet Underground,
Sugar Minott,
Matthew Halsall,
The Birthday Party,
Al Stewart,
Audionom,
Jeff Mills,
Black Sheep,
Gang Green,
Pete Rock & C.L. Smooth,
Lizzy Mercier Descloux,
James Chance & The Contortions,
Ultimate Spinach,
Johnny Osbourne,
Maurizio,
Minnie Riperton,
The Busters,
Jesper Dahlback,
The Chocolate Watch Band,
Skaos,
Mr. Review,
Mission of Burma,
ABBA,
Symarip,
Liliput,
Carl Craig,
Index,
Ultravox,
DNA,
Eddi Front,
The Durutti Column,
Radiohead,
Henry Cow,
Rites of Spring,
Funky Four + One,
The American Breed,
Dual Sessions,
Black Moon,
U.S. Maple,
The Real Kids,
Dennis Brown,
Terrestrial Tones,
Shuggie Otis,
The Cramps,
Barbara Tucker,
Mandrill,
Gastr Del Sol,
Faraquet,
Technova,
Radio Birdman,
Supertramp,
Circle Jerks,
The Names,
The Cowsills,
Funkadelic,
AZ,
Main Source,
Kool Moe Dee,
The Pretty Things,
Lucky Dragons,
It's A Beautiful Day,
The Buckinghams, The Buckinghams, The Buckinghams, The Buckinghams.
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.