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 South Africa and from Hong Kong.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1965 to 1976.
I'm losing my edge.
To all the kids in Bologna and Edmonton.
I'm losing my edge to the art-school Madrid 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 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 Minny Pops to the dance 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 Mo-Dettes. All the underground hits.
All Brass Construction tracks. I heard you have a vinyl of every It's A Beautiful Day record on German import.
I heard that you have a white label of every seminal disco 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 synthesizer and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Fortunes record.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
La Düsseldorf,
The Dirtbombs,
Banda Bassotti,
The Standells,
Derrick May,
The Doobie Brothers,
Aaron Thompson,
The American Breed,
Ultra Naté,
Crime,
T.S.O.L.,
Electric Light Orchestra,
The Index,
Sun City Girls,
Jacques Brel,
Notorious BIG live in Amsterdam,
The Gap Band,
Sunsets and Hearts,
Blossom Toes,
Cymande,
The Raincoats,
Gang Gang Dance,
Minnie Riperton,
Drexciya,
Minny Pops,
Rites of Spring,
Ultravox,
Dual Sessions,
Glambeats Corp.,
It's A Beautiful Day,
Tubeway Army,
Kevin Saunderson,
Tomorrow,
Agent Orange,
Gil Scott-Heron & Brian Jackson,
8 Eyed Spy,
Tom Boy,
Joy Division,
Barclay James Harvest,
The Associates,
X-Ray Spex,
The Walker Brothers,
Cal Tjader,
The Knickerbockers,
Amon Düül,
Skriet,
The Moody Blues,
The Music Machine,
Albert Ayler,
ABC,
Mr. Review,
Theoretical Girls,
Matthew Halsall,
Skaos,
Gary Puckett & The Union Gap,
Johnny Osbourne,
Peter and Kerry,
Brick,
Marine Girls,
JFA,
Visage,
Bluetip, Bluetip, Bluetip, Bluetip.
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.