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 Comoros and from Madrid.
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 1979.
I'm losing my edge.
To all the kids in New York and Hong Kong.
I'm losing my edge to the art-school Paris 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 chamberlin sounds with much patience.
I was there when Robert Palmer 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 Underground Resistance to the punk 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 Pretty Things. All the underground hits.
All Camouflage tracks. I heard you have a vinyl of every Ultimate Spinach 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 '80s cut and another box set from the '70s.
I hear you're buying a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Anthony Braxton record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Surgeon,
Amon Düül,
World's Most,
H. Thieme,
The United States of America,
The Dead C,
Black Bananas,
The Cosmic Jokers,
Bobby Byrd,
Kerrie Biddell,
Kango’s Stein Massive,
Chrome,
Strawberry Alarm Clock,
Model 500,
Stockholm Monsters,
Lizzy Mercier Descloux,
Sunsets and Hearts,
Brick,
Byron Stingily,
Banda Bassotti,
Bauhaus,
Little Man,
Roger Hodgson,
Morten Harket,
Manfred Mann's Earth Band,
Joe Smooth,
UT,
Tears for Fears,
Röyhkä ja Rättö ja Lehtisalo,
Rites of Spring,
It's A Beautiful Day,
ABBA,
Subhumans,
Anthony Braxton,
Minnie Riperton,
Blossom Toes,
Marcia Griffiths,
The Young Rascals,
The American Breed,
Camron Feat. Memphis Bleek And Beenie Seigel,
Kevin Saunderson,
Lakeside,
Cluster,
Grey Daturas,
48th St. Collective,
Wally Richardson,
Schoolly D,
Boz Scaggs,
cv313,
Major Organ And The Adding Machine,
Michelle Simonal,
Bobby Sherman,
Rosa Yemen,
Cameo,
Flamin' Groovies,
The Seeds,
The Toasters,
Mark Hollis,
Pantaleimon,
Echospace,
Gichy Dan,
The Pretty Things,
Mantronix, Mantronix, Mantronix, Mantronix.
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.