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 Saudi Arabia and from Manila.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Glasgow and Winnipeg.
I'm losing my edge to the art-school Woodstock 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 synthesizer 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 It's A Beautiful Day to the funk kids.
I played it at the Crocodile.
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 Visage. All the underground hits.
All Isaac Hayes tracks. I heard you have a vinyl of every Jeru the Damaja record on German import.
I heard that you have a white label of every seminal punk 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 marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Deadbeat record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Frankie Knuckles,
Pulsallama,
Saccharine Trust,
Barclay James Harvest,
the Swans,
Roy Ayers,
Chris Corsano,
R.M.O.,
Scott Walker,
Tears for Fears,
Masters at Work,
The Golliwogs,
The Last Poets,
Alice Coltrane,
The Slits,
Janne Schatter,
Nirvana,
Boogie Down Productions,
Depeche Mode,
The Dead C,
The Seeds,
Intrusion,
the Soft Cell,
Pantytec,
Quadrant,
The Angels of Light,
The West Coast Pop Art Experimental Band,
Urselle,
The Move,
Hasil Adkins,
Yaz,
Bobby Byrd,
Mantronix,
Ten City,
Man Eating Sloth,
Amon Düül,
Simply Red,
Cal Tjader,
Isaac Hayes,
Roxette,
Crispian St. Peters,
The Modern Lovers,
Johnny Osbourne,
A Flock of Seagulls,
Babytalk,
Livin' Joy,
The Happenings,
the Normal,
Bill Wells,
Pete Rock & C.L. Smooth,
Moebius,
Pagans,
Deepchord,
Man Parrish,
Quantec,
Kas Product,
Japan,
The Motions,
The Martian,
DJ Sneak,
Symarip,
DNA,
Roxy Music,
Fela Kuti,
Avey Tare, Avey Tare, Avey Tare, Avey Tare.
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.