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 Madagascar and from Glasgow.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Paris and Taipei.
I'm losing my edge to the art-school Tehran 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 1983 at the first Art of Noise practice in a loft in London.
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 Dead Boys to the grunge 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 Maleditus Sound. All the underground hits.
All Neil Young tracks. I heard you have a vinyl of every Be Bop Deluxe record on German import.
I heard that you have a white label of every seminal grime 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 rhodes and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Vogues record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brick,
Bronski Beat,
Dorothy Ashby,
Ten City,
John Holt,
The Gories,
Deadbeat,
Fatback Band,
Black Pus,
The Men They Couldn't Hang,
Essential Logic,
Kurtis Blow,
Gil Scott Heron,
In Retrospect,
Steve Hackett,
Mad Mike,
Cluster,
Banda Bassotti,
K-Klass,
Quadrant,
Ultra Naté,
Blossom Toes,
kango's stein massive,
Marmalade,
Minny Pops,
Marine Girls,
Boredoms,
Rufus Thomas,
Robert Görl,
Mission of Burma,
a-ha,
Scratch Acid,
New York Dolls,
T.S.O.L.,
Blancmange,
cv313,
The Moody Blues,
The Young Rascals,
Young Marble Giants,
Man Parrish,
Urselle,
Swell Maps,
Vladislav Delay,
Don Cherry,
Fifty Foot Hose,
Unwound,
Chris Corsano,
The West Coast Pop Art Experimental Band,
Jesper Dahlbäck,
The Gap Band,
Joy Division,
D'Angelo,
Alison Limerick,
Nico,
Fear,
The American Breed,
Scrapy,
The Offenders,
Jacob Miller,
Jeru the Damaja,
The Smiths,
Josef K,
Rosa Yemen, Rosa Yemen, Rosa Yemen, Rosa Yemen.
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.