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 Sao Paulo.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Hong Kong and Johannesburg.
I'm losing my edge to the art-school Tokyo 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 1983 at the first Bronski Beat practice in a loft in Brixton.
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 Deakin to the electroclash 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 Zero Boys. All the underground hits.
All The Invisible tracks. I heard you have a vinyl of every Sandy B 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 a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a FM Einheit record.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Remains,
The Smiths,
Royal Trux,
Joe Finger,
Public Enemy,
Clear Light,
B.T. Express,
Oblivians,
Godley & Creme,
Reuben Wilson,
This Heat,
Kaleidoscope,
The Neon Judgement,
Joensuu 1685,
Terrestrial Tones,
Quando Quango,
Fugazi,
Richard Hell and the Voidoids,
Donald Byrd,
Glenn Branca,
Monks,
Pylon,
Lightning Bolt,
The Mummies,
a-ha,
Mary Jane Girls,
These Immortal Souls,
AZ,
Electric Prunes,
Mandrill,
Groovy Waters,
The Walker Brothers,
Jacques Brel,
Fat Boys,
Amon Düül,
Erykah Badu,
Bush Tetras,
Rowland S Howard / Lydia Lunch,
The Gories,
Mark Hollis,
Roxette,
Isaac Hayes,
Matthew Halsall,
Buzzcocks,
Vaughan Mason & Crew,
Moebius,
Pierre Henry,
Scan 7,
The Trojans,
Barclay James Harvest,
Kool Moe Dee,
Lower 48,
De La Soul & Jungle Brothers,
The Tremeloes,
Letta Mbulu,
The Index,
JFA,
Guru Guru,
Kas Product,
Big Daddy Kane,
Rahsaan Roland Kirk, Rahsaan Roland Kirk, Rahsaan Roland Kirk, Rahsaan Roland Kirk.
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.