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 Azerbaijan and from Hong Kong.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Copenhagen and Shanghai.
I'm losing my edge to the art-school Houston 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the güiro sounds with much patience.
I was there when Captain Beefheart 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 Steve Hackett to the rock 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 Art Ensemble Of Chicago. All the underground hits.
All Steve Hackett tracks. I heard you have a vinyl of every Soft Cell 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 '50s cut and another box set from the '70s.
I hear you're buying a güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a CMW record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Young Marble Giants,
The Fuzztones,
Sound Behaviour,
Nik Kershaw,
Easy Going,
Jerry's Kids,
Röyhkä ja Rättö ja Lehtisalo,
Youth Brigade,
Siouxsie and the Banshees,
Marmalade,
Peter and Kerry,
Moss Icon,
Dawn Penn,
Henry Cow,
Fifty Foot Hose,
The Human League,
Silicon Teens,
Cluster,
Depeche Mode,
Jawbox,
Hasil Adkins,
Steve Hackett,
The Birthday Party,
Lindisfarne,
New Age Steppers,
The Alarm Clocks,
Echospace,
Accadde A,
Beasts of Bourbon,
Bob Dylan,
Sister Nancy,
Amon Düül,
Tears for Fears,
Gang of Four,
Crash Course in Science,
The Searchers,
Chris Corsano,
Radio Birdman,
Sam Rivers,
Jerry Gold Smith,
Kauko Röyhkä ja Narttu,
Lou Reed & Metallica,
The Men They Couldn't Hang,
EPMD,
Sun Ra Arkestra,
Jeff Mills,
T. Rex,
London Community Gospel Choir,
Super Lover Cee & Casanova Rud,
Colin Newman,
Fatback Band,
Ponytail,
Marc Romboy vs. Booka Shade,
ABBA,
The Motions,
Sällskapet,
Marc Almond,
The United States of America,
The Leaves,
The Move,
Joensuu 1685,
Aloha Tigers,
Aaron Thompson,
Bluetip,
Guru Guru, Guru Guru, Guru Guru, Guru Guru.
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.