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 Ghana and from Paris.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1978.
I'm losing my edge.
To all the kids in Woodstock and Tehran.
I'm losing my edge to the art-school Glasgow 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 arpeggiator sounds with much patience.
I was there when Lou Reed 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 Shuggie Otis to the grunge 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 Peter & Gordon. All the underground hits.
All Freddie Wadling tracks. I heard you have a vinyl of every Brass Construction record on German import.
I heard that you have a white label of every seminal electroclash 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 sitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Minutemen record.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Residents,
Camron Feat. Memphis Bleek And Beenie Seigel,
Selector Dub Narcotic,
Severed Heads,
The Modern Lovers,
The Grass Roots,
Loose Ends,
Groovy Waters,
New Order,
Accadde A,
The Flesh Eaters,
Grauzone,
Kas Product,
Eve St. Jones,
Tom Boy,
Pulsallama,
Lucky Dragons,
The Fortunes,
Ice-T,
ABBA,
Harmonia,
Animal Collective,
Tubeway Army,
Jesper Dahlback,
T.S.O.L.,
Bizarre Inc.,
Rowland S Howard / Lydia Lunch,
48th St. Collective,
The Toasters,
The Peanut Butter Conspiracy,
Agitation Free,
Make Up,
Saccharine Trust,
X-101,
Dark Day,
The Seeds,
Boogie Down Productions,
Wire,
The Moody Blues,
The Offenders,
DJ Sneak,
Echospace,
Reuben Wilson,
Radiopuhelimet,
Lindisfarne,
Faraquet,
Public Image Ltd.,
Joe Finger,
Gerry Rafferty,
Eric B and Rakim,
The New Christs,
Tropical Tobacco,
Stereo Dub,
Surgeon,
The Angels of Light,
Kerrie Biddell,
Brick,
Gary Puckett & The Union Gap,
X-Ray Spex,
Gil Scott-Heron and Jamie xx,
Pylon, Pylon, Pylon, Pylon.
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.