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 Portugal and from Jakarta.
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 1976.
I'm losing my edge.
To all the kids in Copenhagen and Portland.
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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the guitar 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 Gil Scott Heron to the crunk 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 the Bar-Kays. All the underground hits.
All Minor Threat tracks. I heard you have a vinyl of every The Seeds 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 '70s cut and another box set from the '70s.
I hear you're buying a mellotron and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Warren Ellis record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gerry Rafferty,
Peter and Kerry,
Minor Threat,
Oppenheimer Analysis,
The Electric Prunes,
Mars,
ABC,
Malaria!,
Quadrant,
Lungfish,
Loose Ends,
Sonic Youth,
Half Japanese,
Oblivians,
Brand Nubian,
Bill Near,
Clear Light,
Los Fastidios,
The Buckinghams,
Rakim,
Shoche,
A Flock of Seagulls,
Althea and Donna,
David Axelrod,
The Tremeloes,
Alphaville,
Brass Construction,
Rod Modell,
Heaven 17,
Matthew Bourne,
Fear,
Sugar Minott,
The Cowsills,
Amon Düül II,
The Black Dice,
Black Pus,
June of 44,
The Mummies,
The Skatalites,
Saccharine Trust,
Aswad,
The Invisible,
Red Lorry Yellow Lorry,
The Moody Blues,
The Fuzztones,
Todd Rundgren,
Orchestral Manoeuvres in the Dark,
DJ Style,
Robert Hood,
The Martian,
The Star Department,
Grandmaster Flash and the Furious Five,
John Foxx,
Todd Terry,
Camouflage,
Skarface,
Ultravox,
Royal Trux,
Yaz,
The Durutti Column, The Durutti Column, The Durutti Column, The Durutti Column.
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.