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 Papua New Guinea and from Calgary.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1975.
I'm losing my edge.
To all the kids in Hong Kong and Lyon.
I'm losing my edge to the art-school Woodstock 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 theremin sounds with much patience.
I was there when David Bowie 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 Nation of Ulysses to the disco kids.
I played it at the Hacienda.
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 Pylon. All the underground hits.
All Mandrill tracks. I heard you have a vinyl of every James White and The Blacks record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a guitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Scion record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Holt,
Eurythmics,
Robert Wyatt,
The Toasters,
Ultra Naté,
Cameo,
10cc,
The Pretty Things,
Pharaoh Sanders and the Fire Engines,
The Doobie Brothers,
Alison Limerick,
Von Mondo,
Malaria!,
John Cale,
Max Romeo,
Popol Vuh,
Scott Walker,
Lou Reed & John Cale,
Sparks,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
a-ha,
Sam Rivers,
The Mighty Diamonds,
It's A Beautiful Day,
Terry Callier,
Marmalade,
Zapp,
Manfred Mann's Earth Band,
The Sisters of Mercy,
A Flock of Seagulls,
Teenage Jesus and the Jerks,
Jacob Miller,
Louis and Bebe Barron,
Don Cherry,
The Star Department,
The Jesus and Mary Chain,
Tropical Tobacco,
The Golliwogs,
Tears for Fears,
Eric Copeland,
Connie Case,
The Remains,
Godley & Creme,
Lalo Schifrin,
Roy Ayers Ubiquity,
Spandau Ballet,
Faraquet,
Janne Schatter,
Stetsasonic,
Kenny Larkin,
Marc Romboy vs. Booka Shade,
Vladislav Delay,
Minutemen,
the Slits,
Bush Tetras,
Robert Görl,
Soul Sonic Force,
Crooked Eye,
Marshall Jefferson,
Scratch Acid,
Aural Exciters, Aural Exciters, Aural Exciters, Aural Exciters.
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.