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 Mozambique and from Columbus.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Bologna and Copenhagen.
I'm losing my edge to the art-school Paris 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 synthesizer sounds with much patience.
I was there when Michael McDonald 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 Fugazi to the electroclash kids.
I played it at Cafe Wha.
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 Martian. All the underground hits.
All The Motions tracks. I heard you have a vinyl of every Kerrie Biddell record on German import.
I heard that you have a white label of every seminal dance 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 snare and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Music Machine record.
I hear that you and your band have sold your güiro and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Suburban Knight,
Dawn Penn,
Derrick Morgan,
Man Parrish,
The Offenders,
The Sisters of Mercy,
Newcleus,
Organ,
Oneida,
Brand Nubian,
Nils Olav,
Funky Four + One,
Reagan Youth,
Kool Moe Dee,
Maurizio,
Avey Tare & Kría Brekkan,
Amon Düül,
Icehouse,
Radiopuhelimet,
Johnny Clarke,
The Trojans,
the Normal,
Lonnie Liston Smith,
Jeff Lynne,
Bootsy's Rubber Band,
Public Image Ltd.,
Bobbi Humphrey,
Eric Copeland,
X-102,
the Fania All-Stars,
The Jesus and Mary Chain,
Monolake,
Bad Manners,
Judy Mowatt,
H. Thieme,
The Velvet Underground,
Brothers Johnson,
Supertramp,
Siouxsie and the Banshees,
The Mummies,
The Birthday Party,
Depeche Mode,
Sonic Youth,
John Cale,
X-101,
The Motions,
The Real Kids,
Quantec,
Silicon Teens,
Yellowson,
Los Fastidios,
Aaron Thompson,
Crispy Ambulance,
Sandy B,
Make Up,
Loose Ends,
Althea and Donna,
Jandek,
Sexual Harrassment,
Gary Puckett & The Union Gap,
The Gladiators,
Lee Hazlewood, Lee Hazlewood, Lee Hazlewood, Lee Hazlewood.
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.