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 Zambia and from Hong Kong.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Spokane and Tokyo.
I'm losing my edge to the art-school Madrid 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 1978 at the first Visage practice in a loft in London.
I was working on the guitar sounds with much patience.
I was there when Tom Verlaine 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 Motorama 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 Alice Coltrane. All the underground hits.
All Manfred Mann's Earth Band tracks. I heard you have a vinyl of every Wolf Eyes 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 '90s.
I hear you're buying a theremin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your theremin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The West Coast Pop Art Experimental Band,
Byron Stingily,
The Shadows of Knight,
Ken Boothe,
the Swans,
MDC,
Danielle Patucci,
Lonnie Liston Smith,
La Düsseldorf,
The Star Department,
Tom Boy,
R.M.O.,
Lower 48,
The Dave Clark Five,
Easy Going,
Lyres,
the Human League,
Inner City,
Frankie Knuckles,
Neu!,
a-ha,
Eddi Front,
Jerry's Kids,
Aswad,
Hardrive,
Stereo Dub,
Robert Hood,
Ornette Coleman,
Dawn Penn,
It's A Beautiful Day,
ABC,
Gong,
Monks,
Scratch Acid,
Alphaville,
Talk Talk,
Angels of Light & Akron/Family,
MC5,
Unrelated Segments,
Peter Gordon & Love of Life Orchestra,
Hot Snakes,
Siglo XX,
Letta Mbulu,
The Fire Engines,
The Cosmic Jokers,
The Smoke,
Stockholm Monsters,
Royal Trux,
Aural Exciters,
The Techniques,
Absolute Body Control,
Nation of Ulysses,
The Young Rascals,
Kaleidoscope,
Nik Kershaw,
Morten Harket,
The Angels of Light,
Essential Logic,
Major Organ And The Adding Machine, Major Organ And The Adding Machine, Major Organ And The Adding Machine, Major Organ And The Adding Machine.
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.