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 Cambodia and from Philadelphia.
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 1977.
I'm losing my edge.
To all the kids in Tehran and London.
I'm losing my edge to the art-school Calgary 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 synthesizer 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 A Flock of Seagulls to the jazz 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 The Motions. All the underground hits.
All Pole tracks. I heard you have a vinyl of every Clear Light 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 '70s.
I hear you're buying a güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Q65 record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cure,
The Fire Engines,
Echospace,
Lower 48,
The Gladiators,
Lyres,
Amon Düül II,
The Litter,
Heaven 17,
Sound Behaviour,
Jandek,
Richard Hell and the Voidoids,
Marine Girls,
Man Eating Sloth,
The Trojans,
ABBA,
Babytalk,
The Martian,
The Mummies,
Mad Mike,
Deutsch Amerikanische Freundschaft,
Wasted Youth,
the Normal,
Roy Ayers,
Pharaoh Sanders and the Fire Engines,
Rod Modell,
Lucky Dragons,
Bill Wells,
The Real Kids,
Grauzone,
Warren Ellis,
Kas Product,
Franke,
Rowland S Howard / Lydia Lunch,
The Star Department,
The Fortunes,
Curtis Mayfield,
The Pretty Things,
Robert Görl,
Danielle Patucci,
The Invisible,
Schoolly D,
Model 500,
The Five Americans,
Ludus,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Mars,
Amazonics,
The Neon Judgement,
Ultramagnetic MC's,
Pylon,
Bobby Hutcherson,
Magazine,
Groovy Waters,
Terry Callier,
The United States of America,
Basic Channel,
The Red Krayola,
La Düsseldorf,
K-Klass,
Sonny Sharrock,
Gil Scott-Heron and Jamie xx,
Eurythmics, Eurythmics, Eurythmics, Eurythmics.
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.