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 Norway and from Delhi.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Portland and Beijing.
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 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 Spoonie Gee to the electroclash 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 Soul Sonic Force. All the underground hits.
All Crispian St. Peters tracks. I heard you have a vinyl of every The Royal Family And The Poor record on German import.
I heard that you have a white label of every seminal techno 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 synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Wire record.
I hear that you and your band have sold your sitar and bought an oboe.
I hear that you and your band have sold your oboe and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alton Ellis,
E-Dancer,
Bill Near,
Glambeats Corp.,
Be Bop Deluxe,
Joy Division,
AZ,
Marshall Jefferson,
The Buckinghams,
Kauko Röyhkä ja Narttu,
Kas Product,
Brick,
Richard Hell and the Voidoids,
Fugazi,
Zero Boys,
Rapeman,
Vladislav Delay,
Harmonia,
Maleditus Sound,
Eyeless In Gaza,
Supertramp,
Dorothy Ashby,
Faraquet,
The Walker Brothers,
Kenny Larkin,
The Victims,
Eric B and Rakim,
Deutsch Amerikanische Freundschaft,
Masters at Work,
Notorious Big And Bone Thugs,
Eric Dolphy,
Interpol,
Eli Mardock,
Arthur Verocai,
Gary Puckett & The Union Gap,
The Electric Prunes,
EPMD,
Popol Vuh,
DJ Style,
Black Sheep,
Charles Mingus,
Magazine,
Althea and Donna,
Shoche,
Blossom Toes,
The Real Kids,
Gregory Isaacs,
Arcadia,
John Holt,
Audionom,
Oneida,
Todd Terry,
Mo-Dettes,
Spoonie Gee,
Neil Young,
Liaisons Dangereuses,
Hot Snakes,
Sun Ra,
Parry Music,
Lou Reed & Metallica,
Section 25,
Moebius, Moebius, Moebius, Moebius.
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.