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 Japan and from Tehran.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Copenhagen and Spokane.
I'm losing my edge to the art-school Lagos 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 snare sounds with much patience.
I was there when Tom Verlaine 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 Mad Mike to the funk kids.
I played it at the 40 Watt.
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 Buckinghams. All the underground hits.
All Ken Boothe tracks. I heard you have a vinyl of every The Beau Brummels 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 '50s cut and another box set from the '90s.
I hear you're buying an organ and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Ultra Naté record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bauhaus,
Popol Vuh,
Wire,
Camouflage,
The Angels of Light,
Lee Hazlewood,
Motorama,
Don Cherry,
Lightning Bolt,
Man Parrish,
Japan,
Radiopuhelimet,
Suicide,
Desert Stars,
Mo-Dettes,
Nik Kershaw,
Gang of Four,
Harry Pussy,
Sandy B,
MC5,
The Slits,
Marc Romboy vs. Booka Shade,
the Sonics,
The Smiths,
Major Organ And The Adding Machine,
Agitation Free,
The Knickerbockers,
Subhumans,
David Bowie,
Depeche Mode,
Blossom Toes,
Spoonie Gee,
Cheater Slicks,
Roxy Music,
Jeff Lynne,
The Skatalites,
The J.B.'s,
Hot Snakes,
The Raincoats,
Fort Wilson Riot,
the Germs,
Symarip,
The Jesus and Mary Chain,
Rhythim Is Rhythim,
Unrelated Segments,
Neil Young & Crazy Horse,
Pagans,
Robert Hood,
June Days,
The Mighty Diamonds,
Kas Product,
Crispian St. Peters,
Audionom,
Big Daddy Kane,
Underground Resistance,
Aaron Thompson,
Severed Heads,
Urselle,
Swell Maps,
Smog,
DNA,
Teenage Jesus and the Jerks,
The Cowsills, The Cowsills, The Cowsills, The Cowsills.
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.