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 Poland and from Johannesburg.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Glasgow and Bremen.
I'm losing my edge to the art-school Copenhagen 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 chamberlin sounds with much patience.
I was there when Donald Fagen 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 Martian to the techno 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 Infiniti. All the underground hits.
All Sällskapet tracks. I heard you have a vinyl of every Sound Behaviour record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Ituana record.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Orchestral Manoeuvres in the Dark,
Black Moon,
Nick Fraelich,
Peter & Gordon,
Alison Limerick,
Shuggie Otis,
The Pretty Things,
The Cure,
CMW,
Ohio Players,
FM Einheit,
The Walker Brothers,
Crooked Eye,
Fifty Foot Hose,
Symarip,
Unrelated Segments,
Jesper Dahlbäck,
Sound Behaviour,
Matthew Halsall,
Procol Harum,
The Angels of Light,
John Foxx,
Sad Lovers and Giants,
X-102,
The Cowsills,
Teenage Jesus and the Jerks,
Echo & the Bunnymen,
Ultramagnetic MC's,
Lungfish,
Lower 48,
The West Coast Pop Art Experimental Band,
Jeff Lynne,
Amon Düül II,
The Associates,
David Axelrod,
Lightning Bolt,
The Dave Clark Five,
Pole,
Girls At Our Best!,
Mantronix,
Johnny Clarke,
James White and The Blacks,
Avey Tare & Kría Brekkan,
The Gladiators,
Sparks,
Angels of Light & Akron/Family,
Hot Snakes,
Spoonie Gee,
Susan Cadogan,
the Sonics,
Joey Negro,
Scott Walker,
The Stooges,
Tommy Roe,
Anthony Braxton,
Altered Images,
ABBA,
Liliput,
Cymande,
Sugar Minott,
Don Cherry,
Isaac Hayes,
The Cramps, The Cramps, The Cramps, The Cramps.
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.