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 France and from Houston.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Glasgow and Paris.
I'm losing my edge to the art-school London 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 1984 at the first Arcadia practice in a loft in London.
I was working on the guitar 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 The Men They Couldn't Hang to the electroclash kids.
I played it at Trash.
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 Eric B and Rakim. All the underground hits.
All Idris Muhammad tracks. I heard you have a vinyl of every DJ Sneak 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 '80s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Techniques record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Flesh Eaters,
Sister Nancy,
Shoche,
Connie Case,
the Swans,
New Order,
The Gladiators,
UT,
Heavy D & The Boyz,
48th St. Collective,
Amon Düül II,
Rapeman,
The Red Krayola,
Echo & the Bunnymen,
The Smiths,
Gang Gang Dance,
Bill Near,
Thinking Fellers Union Local 282,
Roxette,
Zapp,
Black Moon,
Eric Dolphy,
Joy Division,
Kool G Rap & DJ Polo,
The Real Kids,
Avey Tare's Slasher Flicks,
Siglo XX,
Manfred Mann's Earth Band,
The Buckinghams,
Nas,
Stetsasonic,
Inner City,
New Age Steppers,
Vaughan Mason & Crew,
Buzzcocks,
Henry Cow,
Howard Jones,
the Normal,
Negative Approach,
Quadrant,
Groovy Waters,
The West Coast Pop Art Experimental Band,
Charles Mingus,
Make Up,
L. Decosne,
Peter Gordon & Love of Life Orchestra,
Cymande,
Animal Collective,
Marmalade,
the Germs,
Das Ding,
Eden Ahbez,
Crispian St. Peters,
Malaria!,
Cybotron,
The Sound,
Godley & Creme,
Rahsaan Roland Kirk,
Dave Gahan,
Jeru the Damaja,
Simply Red,
Joe Smooth, Joe Smooth, Joe Smooth, Joe Smooth.
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.