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 Congo and from Tokyo.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Tokyo and Winnipeg.
I'm losing my edge to the art-school Mexico City 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 mellotron sounds with much patience.
I was there when Nile Rodgers 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 E-Dancer to the techno 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 Wire. All the underground hits.
All Rosa Yemen tracks. I heard you have a vinyl of every Bobby Byrd 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 '90s.
I hear you're buying a clarinet and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Henry Cow record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siglo XX,
Junior Murvin,
Sunsets and Hearts,
Y Pants,
Echo & the Bunnymen,
John Foxx,
Swell Maps,
Lee Hazlewood,
The Cowsills,
Oblivians,
E-Dancer,
Niagra,
Angels of Light & Akron/Family,
Lucky Dragons,
Slick Rick,
Grey Daturas,
Subhumans,
JFA,
Funkadelic,
Jawbox,
Essential Logic,
Dual Sessions,
ABBA,
Derrick May,
Dead Boys,
John Cale,
Eli Mardock,
Half Japanese,
Harry Pussy,
Main Source,
Monolake,
Fatback Band,
De La Soul & Jungle Brothers,
CMW,
Popol Vuh,
La Düsseldorf,
Gerry Rafferty,
Notorious Big And Bone Thugs,
Flipper,
Arcadia,
Marcia Griffiths,
Smog,
Captain Beefheart & His Magic Band,
Roxy Music,
The Velvet Underground,
the Association,
48th St. Collective,
Echospace,
Soul Sonic Force,
The Detroit Cobras,
The Men They Couldn't Hang,
Desert Stars,
The Dirtbombs,
Pussy Galore,
The Toasters,
Isaac Hayes,
Malaria!,
The Alarm Clocks,
The Fugs,
Altered Images,
The Gun Club,
Pantaleimon,
Severed Heads,
Liliput, Liliput, Liliput, Liliput.
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.