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 Turkmenistan and from Philadelphia.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Salvador and Jakarta.
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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the theremin 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 The Mojo Men to the jazz kids.
I played it at the Astoria.
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 Aloha Tigers. All the underground hits.
All The Vogues tracks. I heard you have a vinyl of every Pere Ubu 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 '70s cut and another box set from the '80s.
I hear you're buying a linndrum and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Spandau Ballet record.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sad Lovers and Giants,
Ultravox,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
June Days,
The Sound,
Accadde A,
Crispian St. Peters,
The Happenings,
The Fire Engines,
James White and The Blacks,
Dark Day,
X-Ray Spex,
Clear Light,
Warren Ellis,
Skarface,
Pussy Galore,
Dead Boys,
Technova,
R.M.O.,
Royal Trux,
Electric Light Orchestra,
Talk Talk,
Smog,
John Coltrane,
Shoche,
Al Stewart,
Lakeside,
H. Thieme,
Toni Rubio,
Sunsets and Hearts,
Tubeway Army,
Heavy D & The Boyz,
Jesper Dahlback,
Crispy Ambulance,
Fela Kuti,
Ultra Naté,
Girls At Our Best!,
China Crisis,
The Sisters of Mercy,
Beasts of Bourbon,
David McCallum,
Wolf Eyes,
Byron Stingily,
Fat Boys,
Hashim,
John Foxx,
The Jesus and Mary Chain,
Amazonics,
Notorious BIG live in Amsterdam,
Desert Stars,
Pylon,
Jimmy McGriff,
Rekid,
The Doobie Brothers,
Eurythmics,
B.T. Express,
Albert Ayler,
Major Organ And The Adding Machine,
Soft Cell,
ABC,
Visage, Visage, Visage, Visage.
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.