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 Japan and from Houston.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1974.
I'm losing my edge.
To all the kids in Lille and Salvador.
I'm losing my edge to the art-school Glasgow 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 mellotron 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 Visage to the grunge kids.
I played it at the 40 Watt.
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 The Birthday Party. All the underground hits.
All Sight & Sound tracks. I heard you have a vinyl of every Radiohead 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 '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Gladiators record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Neil Young,
Eric B and Rakim,
Joyce Sims,
The Sound,
The Associates,
Sonny Sharrock,
Liaisons Dangereuses,
Kenny Larkin,
Funky Four + One,
The Wake,
Rapeman,
Liliput,
The Count Five,
Peter and Kerry,
Public Image Ltd.,
Barrington Levy,
Rod Modell,
The Angels of Light,
Jesper Dahlback,
Boz Scaggs,
UT,
Little Man,
Camberwell Now,
The Techniques,
The Busters,
The Gap Band,
Jacob Miller,
Morten Harket,
Tomorrow,
Chris Corsano,
Vainqueur,
Slave,
Depeche Mode,
Dave Gahan,
Television,
Pet Shop Boys,
Scratch Acid,
Scott Walker,
OOIOO,
Juan Atkins,
Black Pus,
Lower 48,
Tropical Tobacco,
Gil Scott Heron,
the Fania All-Stars,
The Fugs,
Parry Music,
Aswad,
Sex Pistols,
Dual Sessions,
AZ,
Whodini,
Cameo,
Godley & Creme,
The Fire Engines,
Saccharine Trust,
Bad Manners,
Throbbing Gristle,
Lucky Dragons,
Dennis Brown,
Electric Prunes, Electric Prunes, Electric Prunes, Electric Prunes.
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.