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 Venezuela and from Hong Kong.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Johannesburg and Bremen.
I'm losing my edge to the art-school Bremen 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 linndrum 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 Sällskapet to the disco 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 Laurel Aitken. All the underground hits.
All Second Layer tracks. I heard you have a vinyl of every Angry Samoans record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Shadows of Knight record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fela Kuti,
Half Japanese,
John Cale,
Lalann,
Ronan,
Ken Boothe,
The Misunderstood,
The Sisters of Mercy,
Cabaret Voltaire,
A Flock of Seagulls,
Average White Band,
Peter Gordon & Love of Life Orchestra,
Colin Newman,
Interpol,
Rhythim Is Rhythim,
New Age Steppers,
The Doobie Brothers,
Sarah Menescal,
Sun City Girls,
The Blackbyrds,
The Divine Comedy,
Nation of Ulysses,
The Wake,
T. Rex,
L. Decosne,
Neil Young,
Boz Scaggs,
London Community Gospel Choir,
Basic Channel,
Kas Product,
The Jesus and Mary Chain,
Ash Ra Tempel,
Fluxion,
Oneida,
Niagra,
H. Thieme,
Gary Puckett & The Union Gap,
Soul Sonic Force,
The Five Americans,
Magazine,
Technova,
K-Klass,
Rotary Connection,
Pussy Galore,
Royal Trux,
DJ Style,
Fugazi,
Roy Ayers,
Lafayette Afro Rock Band,
The Gun Club,
Ornette Coleman,
Faust,
Trumans Water,
Cal Tjader,
Lindisfarne,
Model 500,
Warsaw,
the Human League,
Gang Green,
The Buckinghams,
DNA, DNA, DNA, DNA.
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.