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 Sri Lanka and from Manchester.
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 1974.
I'm losing my edge.
To all the kids in Sao Paulo and Accra.
I'm losing my edge to the art-school Houston 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 Art of Noise practice in a loft in London.
I was working on the spring reverb sounds with much patience.
I was there when Robert Palmer 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 John Cale to the grime 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 Bauhaus. All the underground hits.
All The United States of America tracks. I heard you have a vinyl of every Black Moon record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a sitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Bauhaus record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
MDC,
Echospace,
Lebanon Hanover,
Spandau Ballet,
Little Man,
The Cure,
Minny Pops,
B.T. Express,
Can,
Ralphi Rosario,
John Lydon,
Negative Approach,
Whodini,
Stereo Dub,
Barclay James Harvest,
The Durutti Column,
A Flock of Seagulls,
FM Einheit,
The Moleskins,
CMW,
The Count Five,
Faraquet,
Lalann,
Accadde A,
Bush Tetras,
Public Enemy,
Pete Rock & C.L. Smooth,
K-Klass,
Strawberry Alarm Clock,
Camberwell Now,
Hoover,
The Fortunes,
Neil Young & Crazy Horse,
Richard Hell and the Voidoids,
Jerry's Kids,
Pharoah Sanders,
Siglo XX,
Popol Vuh,
Neil Young,
Icehouse,
Maleditus Sound,
Eli Mardock,
Pantytec,
It's A Beautiful Day,
Alison Limerick,
Jacob Miller,
Röyhkä ja Rättö ja Lehtisalo,
Joensuu 1685,
The Music Machine,
Johnny Osbourne,
The Grass Roots,
Supertramp,
Blossom Toes,
Pussy Galore,
Mars,
Altered Images,
Bobbi Humphrey,
The Pop Group,
Barrington Levy,
Matthew Bourne,
Bauhaus,
Yaz, Yaz, Yaz, Yaz.
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.