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 Macedonia and from Copenhagen.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Columbus and Calgary.
I'm losing my edge to the art-school Lyon 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 Soft Boys practice in a loft in Cambridge.
I was working on the guitar sounds with much patience.
I was there when Holger Czukay 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 Doors to the dance 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 Grandmaster Flash and the Furious Five. All the underground hits.
All A Flock of Seagulls tracks. I heard you have a vinyl of every The Alarm Clocks 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 '70s cut and another box set from the '90s.
I hear you're buying a linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Second Layer record.
I hear that you and your band have sold your organ and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Godley & Creme,
Amon Düül,
Kenny Larkin,
Major Organ And The Adding Machine,
The Men They Couldn't Hang,
Barry Ungar,
Gabor Szabo,
Siglo XX,
Kas Product,
David Axelrod,
Danielle Patucci,
The Saints,
New Order,
Erasure,
Notorious Big And Bone Thugs,
Dawn Penn,
Liliput,
The Electric Prunes,
Sparks,
X-102,
Jacob Miller,
Anakelly,
Model 500,
Roy Ayers Ubiquity,
Scion,
Henry Cow,
Tim Buckley,
Mad Mike,
Marine Girls,
Babytalk,
Lafayette Afro Rock Band,
The Doors,
The Slits,
Kevin Saunderson,
Donald Byrd,
Black Pus,
Jesper Dahlbäck,
Jerry's Kids,
Erykah Badu,
Severed Heads,
Hoover,
Byron Stingily,
The Martian,
the Germs,
Beasts of Bourbon,
Malaria!,
CMW,
Spandau Ballet,
Buzzcocks,
the Soft Cell,
The Flesh Eaters,
Bill Wells,
Ituana,
Isaac Hayes,
Fluxion,
Eurythmics,
Joe Finger,
The Invisible,
Rufus Thomas,
Porter Ricks,
The Young Rascals,
Urselle, Urselle, Urselle, Urselle.
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.