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 Brazil and from Bremen.
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 1961 to 1970.
I'm losing my edge.
To all the kids in New York and Glasgow.
I'm losing my edge to the art-school Edmonton 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 Feelies practice in a loft in Haledon.
I was working on the synthesizer sounds with much patience.
I was there when Michael McDonald 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 Marmalade to the electroclash kids.
I played it at the Roxy.
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 It's A Beautiful Day. All the underground hits.
All Jesper Dahlbäck tracks. I heard you have a vinyl of every Josef K record on German import.
I heard that you have a white label of every seminal punk 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 harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Siouxsie and the Banshees record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fat Boys,
The Sound,
Henry Cow,
Dawn Penn,
Byron Stingily,
Swans,
Notorious BIG live in Amsterdam,
Zero Boys,
Magazine,
Be Bop Deluxe,
Funky Four + One,
a-ha,
The Monks,
The Names,
Peter & Gordon,
The Alarm Clocks,
OOIOO,
Cybotron,
DNA,
David Bowie,
Gary Puckett & The Union Gap,
Sound Behaviour,
Girls At Our Best!,
Matthew Halsall,
Siouxsie and the Banshees,
The Five Americans,
Pagans,
Spandau Ballet,
Major Organ And The Adding Machine,
Juan Atkins,
Black Sheep,
T. Rex,
Rosa Yemen,
Public Enemy,
Magma,
Bobby Hutcherson,
Electric Prunes,
Stockholm Monsters,
Roger Hodgson,
Panda Bear,
Harry Pussy,
Glenn Branca,
Pierre Henry,
Camberwell Now,
The Moody Blues,
Connie Case,
The Offenders,
The Count Five,
Lindisfarne,
Erykah Badu,
Grandmaster Flash and the Furious Five,
Minor Threat,
Gerry Rafferty,
Skriet,
Brass Construction,
Rowland S Howard / Lydia Lunch,
Minutemen,
Alison Limerick,
It's A Beautiful Day,
Sexual Harrassment,
The Litter,
Motorama, Motorama, Motorama, Motorama.
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.