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 Andorra and from Sao Paulo.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Halifax and Columbus.
I'm losing my edge to the art-school Tehran 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the rhodes sounds with much patience.
I was there when Captain Beefheart 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 Chris & Cosey to the rap 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 Make Up. All the underground hits.
All Jeru the Damaja tracks. I heard you have a vinyl of every Blancmange 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 '70s cut and another box set from the '90s.
I hear you're buying a clarinet and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Jerry's Kids record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Names,
The Cosmic Jokers,
The Toasters,
Kaleidoscope,
Bauhaus,
Underground Resistance,
Soul Sonic Force,
Arab on Radar,
X-Ray Spex,
The Velvet Underground,
Easy Going,
The Music Machine,
a-ha,
John Lydon,
Wings,
Man Eating Sloth,
Nick Fraelich,
Buzzcocks,
Lakeside,
Half Japanese,
Peter & Gordon,
Eden Ahbez,
Johnny Clarke,
Joe Smooth,
The Techniques,
The Blackbyrds,
Barry Ungar,
The Smiths,
Cluster,
Sun Ra Arkestra,
Pylon,
Siglo XX,
Banda Bassotti,
Ralphi Rosario,
Kings Of Tomorrow,
Derrick May,
Main Source,
The Dave Clark Five,
UT,
Nas,
Al Stewart,
Bobby Hutcherson,
Make Up,
Los Fastidios,
Hot Snakes,
Crispy Ambulance,
Althea and Donna,
Grandmaster Flash,
Bobby Byrd,
Robert Hood,
Piero Umiliani,
La Düsseldorf,
Duran Duran,
Circle Jerks,
Intrusion,
The Doors,
The Monochrome Set,
Lindisfarne,
Girls At Our Best!,
Avey Tare's Slasher Flicks,
Sight & Sound,
Prince Buster,
Country Teasers,
Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale.
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.