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 Antigua 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 1966 to 1970.
I'm losing my edge.
To all the kids in Salvador and Philadelphia.
I'm losing my edge to the art-school Taipei 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the chamberlin sounds with much patience.
I was there when David Bowie 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 Detroit Cobras to the jazz kids.
I played it at Trash.
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 Electric Prunes. All the underground hits.
All The Fuzztones tracks. I heard you have a vinyl of every Terror Squad Feat. Camron 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 '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Buzzcocks record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Human League,
Liliput,
David Axelrod,
The Tremeloes,
Skarface,
DJ Sneak,
Rod Modell,
Alton Ellis,
The Fire Engines,
The New Christs,
Chris & Cosey,
World's Most,
Gastr Del Sol,
CMW,
H. Thieme,
Boogie Down Productions,
Oneida,
The Neon Judgement,
Anakelly,
The Shadows of Knight,
kango's stein massive,
The Invisible,
Derrick Morgan,
Ludus,
Girls At Our Best!,
Harry Pussy,
Glambeats Corp.,
Soul Sonic Force,
Wings,
The Associates,
Man Eating Sloth,
Roxette,
Lindisfarne,
The West Coast Pop Art Experimental Band,
Leonard Cohen,
Pere Ubu,
A Flock of Seagulls,
Tears for Fears,
Heaven 17,
Glenn Branca,
Liaisons Dangereuses,
Joensuu 1685,
Second Layer,
London Community Gospel Choir,
Scientists,
Stockholm Monsters,
The Kinks,
Kas Product,
Radio Birdman,
Henry Cow,
Isaac Hayes,
Masters at Work,
The Slackers,
Silicon Teens,
Average White Band,
Röyhkä ja Rättö ja Lehtisalo,
The Fall,
Electric Prunes,
Rekid,
Ultravox, Ultravox, Ultravox, Ultravox.
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.