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 Croatia and from Stockholm.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Milan and Woodstock.
I'm losing my edge to the art-school Jakarta 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 1976 at the first Wire practice in a loft in Watford.
I was working on the guitar sounds with much patience.
I was there when Lou Reed 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 Lou Reed & Metallica to the jazz kids.
I played it at the Roxy.
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 La Düsseldorf. All the underground hits.
All James Chance & The Contortions tracks. I heard you have a vinyl of every China Crisis record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a clarinet and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Bronski Beat record.
I hear that you and your band have sold your linndrum and bought a guitar.
I hear that you and your band have sold your guitar and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alphaville,
James Chance & The Contortions,
Tom Boy,
Minny Pops,
The Mighty Diamonds,
Aural Exciters,
The Music Machine,
Traffic Nightmare,
Sister Nancy,
Oblivians,
Freddie Wadling,
Ten City,
Robert Görl,
The Blues Magoos,
Andrew Hill,
Amon Düül II,
Susan Cadogan,
Visionaries,LMNO, T- Love & Iriscience,
New Order,
Das Ding,
Wolf Eyes,
Brick,
Arcadia,
U.S. Maple,
Reagan Youth,
Mandrill,
Black Pus,
Sandy B,
The Invisible,
Sad Lovers and Giants,
Andrew Ashong & Theo Parrish,
The Neon Judgement,
Lindisfarne,
Godley & Creme,
Buzzcocks,
Sparks,
The Divine Comedy,
Jeff Lynne,
The Names,
Arthur Verocai,
the Sonics,
Minor Threat,
Deadbeat,
The Trojans,
The Five Americans,
Dark Day,
Agitation Free,
Flipper,
Rowland S Howard / Lydia Lunch,
Camouflage,
Dorothy Ashby,
The Cowsills,
The Pretty Things,
The Chocolate Watch Band,
Japan,
The Dead C,
Colin Newman,
Bootsy's Rubber Band,
Joe Smooth,
Archie Shepp,
MDC, MDC, MDC, MDC.
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.