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 Afghanistan and from Columbus.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Winnipeg and Mexico City.
I'm losing my edge to the art-school Spokane 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 spring reverb sounds with much patience.
I was there when Holger Czukay 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 PIL to the jazz kids.
I played it at the Crocodile.
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 Derrick May. All the underground hits.
All Pulsallama tracks. I heard you have a vinyl of every The Remains record on German import.
I heard that you have a white label of every seminal crunk 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 mellotron and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Young Rascals record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pharaoh Sanders and the Fire Engines,
The Real Kids,
Ornette Coleman,
The Knickerbockers,
Gian Franco Pienzio,
Jesper Dahlback,
Marcia Griffiths,
Nas,
Avey Tare's Slasher Flicks,
Japan,
Fear,
Donald Byrd,
The Detroit Cobras,
Ituana,
In Retrospect,
Eli Mardock,
The Blues Magoos,
Moby Grape,
The Cramps,
Dual Sessions,
Lucky Dragons,
Barclay James Harvest,
The West Coast Pop Art Experimental Band,
Lower 48,
Mark Hollis,
Amon Düül,
Malaria!,
Peter and Kerry,
The Monochrome Set,
The Five Americans,
the Germs,
David Axelrod,
Joensuu 1685,
Matthew Halsall,
Swell Maps,
Funkadelic,
Negative Approach,
Ajijia Myrayebe,
Ultramagnetic MC's,
Banda Bassotti,
Spoonie Gee,
Silicon Teens,
Ultimate Spinach,
FM Einheit,
Brothers Johnson,
The Slits,
Motorama,
Notorious BIG live in Amsterdam,
Gichy Dan,
The Shadows of Knight,
The Gories,
The Gap Band,
Ultravox,
The Alarm Clocks,
Lou Reed & John Cale,
E-Dancer,
Guru Guru,
Chrome,
The Fire Engines,
Blancmange,
The Martian, The Martian, The Martian, The Martian.
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.