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 Bahrain and from Manchester.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Seoul and Columbus.
I'm losing my edge to the art-school Milan 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 harpsichord sounds with much patience.
I was there when Nile Rodgers 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 The Fuzztones to the punk 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 Half Japanese. All the underground hits.
All F. McDonald tracks. I heard you have a vinyl of every Ajijia Myrayebe record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a theremin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Fall record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Red Krayola,
Barbara Tucker,
Kool Moe Dee,
PIL,
Shuggie Otis,
Richard Hell and the Voidoids,
Jerry's Kids,
Freddie Wadling,
Circle Jerks,
The Mighty Diamonds,
The Men They Couldn't Hang,
The Five Americans,
Reagan Youth,
Severed Heads,
Inner City,
Los Fastidios,
Mo-Dettes,
Liliput,
Skaos,
The Searchers,
Wings,
Ultravox,
Laurel Aitken,
Traffic Nightmare,
The Real Kids,
Terry Callier,
F. McDonald,
The Flesh Eaters,
The Buckinghams,
The Misunderstood,
Teenage Jesus and the Jerks,
Röyhkä ja Rättö ja Lehtisalo,
Lucky Dragons,
The New Christs,
Glambeats Corp.,
Icehouse,
Lalann,
Derrick Morgan,
Notorious BIG live in Amsterdam,
Supertramp,
The Beau Brummels,
The Leaves,
China Crisis,
Avey Tare's Slasher Flicks,
Electric Light Orchestra,
This Heat,
Technova,
James Chance & The Contortions,
June Days,
Kenny Larkin,
The Motions,
Boredoms,
Peter Gordon & Love of Life Orchestra,
Electric Prunes,
Model 500,
Jacques Brel,
Grandmaster Flash and the Furious Five,
Minny Pops,
Massinfluence,
Tommy Roe,
The Royal Family And The Poor,
The Busters, The Busters, The Busters, The Busters.
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.