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 Belgium and from Shanghai.
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 1979.
I'm losing my edge.
To all the kids in Copenhagen and Paris.
I'm losing my edge to the art-school Columbus 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 1978 at the first Visage practice in a loft in London.
I was working on the theremin sounds with much patience.
I was there when David Bowie 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 Jesper Dahlbäck to the punk kids.
I played it at the Spitz.
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 Boredoms. All the underground hits.
All Minutemen 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 electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a clarinet and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Bill Wells record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Leaves,
Donald Byrd,
Japan,
The American Breed,
Sound Behaviour,
Todd Terry,
Josef K,
Reuben Wilson,
Big Daddy Kane,
Bootsy's Rubber Band,
Aaron Thompson,
Archie Shepp,
Man Eating Sloth,
The Sisters of Mercy,
The Walker Brothers,
Matthew Bourne,
Heavy D & The Boyz,
Agitation Free,
World's Most,
Technova,
The Mighty Diamonds,
LL Cool J,
The Zeros,
Tomorrow,
Thee Headcoats,
Swell Maps,
Albert Ayler,
Fugazi,
Eden Ahbez,
Ice-T,
Half Japanese,
Ken Boothe,
Ultramagnetic MC's,
Beasts of Bourbon,
Joensuu 1685,
A Flock of Seagulls,
Electric Prunes,
Little Man,
Hardrive,
David Axelrod,
The Monks,
Siglo XX,
Judy Mowatt,
Los Fastidios,
The Slits,
Young Marble Giants,
Be Bop Deluxe,
Isaac Hayes,
Deepchord,
DeepChord presents Echospace,
Hasil Adkins,
Fad Gadget,
Sonic Youth,
Pylon,
F. McDonald,
The Monochrome Set,
Stereo Dub,
Deakin,
Marcia Griffiths,
Subhumans,
Yellowson,
The Modern Lovers,
Minor Threat, Minor Threat, Minor Threat, Minor Threat.
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.