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 Bahrain and from Bologna.
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 1972.
I'm losing my edge.
To all the kids in Winnipeg and Stockholm.
I'm losing my edge to the art-school Seoul 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 harpsichord sounds with much patience.
I was there when Nile Rodgers 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 Be Bop Deluxe to the dance 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 Black Flag. All the underground hits.
All PIL tracks. I heard you have a vinyl of every The Knickerbockers record on German import.
I heard that you have a white label of every seminal rap 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 mellotron and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Public Image Ltd. record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Althea and Donna,
Prince Buster,
Pharaoh Sanders and the Fire Engines,
The Gun Club,
Bush Tetras,
John Holt,
Amon Düül,
Arcadia,
Letta Mbulu,
Television,
Hot Snakes,
Nick Cave & The Bad Seeds,
Sight & Sound,
Half Japanese,
Johnny Osbourne,
Lower 48,
DJ Sneak,
Richard Hell and the Voidoids,
Whodini,
Supertramp,
Electric Light Orchestra,
Angry Samoans,
Icehouse,
Fat Boys,
Bob Dylan,
Heaven 17,
Babytalk,
Sugar Minott,
Model 500,
Mark Hollis,
The Knickerbockers,
Mars,
Ituana,
JFA,
Cal Tjader,
Urselle,
Lou Christie,
The Trojans,
Japan,
the Soft Cell,
Gang Green,
Underground Resistance,
Al Stewart,
The Alarm Clocks,
Wolf Eyes,
Rekid,
Popol Vuh,
Sad Lovers and Giants,
The Pretty Things,
Colin Newman,
Mo-Dettes,
Intrusion,
Eyeless In Gaza,
Cecil Taylor,
Technova,
Kerrie Biddell,
Banda Bassotti,
Porter Ricks,
Deadbeat,
Andrew Hill,
Joe Smooth,
Rhythim Is Rhythim, Rhythim Is Rhythim, Rhythim Is Rhythim, Rhythim Is Rhythim.
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.