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 Latvia and from Johannesburg.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Manchester and Shanghai.
I'm losing my edge to the art-school Beijing 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 Buzzcocks practice in a loft in Bolton.
I was working on the chamberlin sounds with much patience.
I was there when Michael McDonald 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 Sly & The Family Stone to the electroclash 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 Country Joe & The Fish. All the underground hits.
All Henry Cow tracks. I heard you have a vinyl of every KRS-One record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a güiro and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Orchestral Manoeuvres in the Dark record.
I hear that you and your band have sold your theremin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Connie Case,
Ituana,
Sällskapet,
John Holt,
Amon Düül,
DeepChord presents Echospace,
Ajijia Myrayebe,
Organ,
The Fuzztones,
Leonard Cohen,
Siglo XX,
Chris & Cosey,
The Slits,
The Shadows of Knight,
Reuben Wilson,
Mandrill,
Television,
The Men They Couldn't Hang,
Gil Scott-Heron and Jamie xx,
Moebius,
Basic Channel,
Bauhaus,
Magazine,
Matthew Halsall,
Brothers Johnson,
Scientists,
Danielle Patucci,
X-Ray Spex,
Monks,
Young Marble Giants,
Robert Hood,
Michelle Simonal,
48th St. Collective,
Radio Birdman,
Matthew Bourne,
Archie Shepp,
Andrew Hill,
The Doors,
Depeche Mode,
Henry Cow,
Bill Near,
Electric Light Orchestra,
Rufus Thomas,
Kurtis Blow,
World's Most,
The Residents,
Johnny Clarke,
ABBA,
Japan,
The Martian,
Liliput,
Massinfluence,
Icehouse,
Anthony Braxton,
The Modern Lovers,
The Electric Prunes,
Tubeway Army,
Boredoms,
Crooked Eye,
Brand Nubian,
Jimmy McGriff,
Sixth Finger, Sixth Finger, Sixth Finger, Sixth Finger.
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.