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 Madagascar and from Spokane.
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 1978.
I'm losing my edge.
To all the kids in Beijing and Toronto.
I'm losing my edge to the art-school Portland 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the clarinet 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 The Alarm Clocks to the disco kids.
I played it at the Troubador.
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 This Heat. All the underground hits.
All Mark Hollis tracks. I heard you have a vinyl of every Kool Moe Dee record on German import.
I heard that you have a white label of every seminal rock 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 theremin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Drive Like Jehu record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sparks,
The Invisible,
Andrew Ashong & Theo Parrish,
The Sound,
Josef K,
Spandau Ballet,
Dead Boys,
Marc Almond,
This Heat,
Negative Approach,
Eurythmics,
The Tremeloes,
Sun Ra,
Mission of Burma,
Kings Of Tomorrow,
Livin' Joy,
Liliput,
Pere Ubu,
Pole,
Sarah Menescal,
Arcadia,
LL Cool J,
Mary Jane Girls,
The Dead C,
Scott Walker,
World's Most,
The Golliwogs,
Gary Puckett & The Union Gap,
Vladislav Delay,
Rufus Thomas,
Ohio Players,
These Immortal Souls,
The Real Kids,
Wolf Eyes,
The Count Five,
Fluxion,
Swell Maps,
Jesper Dahlbäck,
Gang Gang Dance,
Unwound,
Jacques Brel,
Metal Thangz,
The Doors,
The Star Department,
The Mojo Men,
Sällskapet,
Aswad,
Orchestral Manoeuvres in the Dark,
Jerry Gold Smith,
Rites of Spring,
Outsiders,
Supertramp,
Easy Going,
Warsaw,
Lou Reed & Metallica,
Accadde A,
Gil Scott Heron,
Gastr Del Sol,
Public Image Ltd.,
Davy DMX,
Magazine,
Bang On A Can,
The Kinks, The Kinks, The Kinks, The Kinks.
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.