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 Trinidad & Tobago and from Seoul.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1973.
I'm losing my edge.
To all the kids in Jakarta and Tehran.
I'm losing my edge to the art-school Tehran 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 spring reverb sounds with much patience.
I was there when Robert Palmer 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 X-101 to the disco kids.
I played it at the Hacienda.
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 Agitation Free. All the underground hits.
All Ultra Naté tracks. I heard you have a vinyl of every The Toasters record on German import.
I heard that you have a white label of every seminal punk 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 chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Alton Ellis record.
I hear that you and your band have sold your clarinet and bought a theremin.
I hear that you and your band have sold your theremin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kas Product,
Rotary Connection,
Zapp,
The Index,
MC5,
Ornette Coleman,
Siglo XX,
James Chance & The Contortions,
Subhumans,
The Alarm Clocks,
the Slits,
Masters at Work,
Clear Light,
Blancmange,
The Gories,
Oblivians,
Kerrie Biddell,
Steve Hackett,
Stetsasonic,
Grey Daturas,
B.T. Express,
Throbbing Gristle,
Gil Scott-Heron and Jamie xx,
Los Fastidios,
Sound Behaviour,
Eyeless In Gaza,
Magma,
The Dead C,
The Victims,
Lakeside,
The Smoke,
Gastr Del Sol,
These Immortal Souls,
Duran Duran,
Rapeman,
K-Klass,
Brass Construction,
Scott Walker + Sunn O))),
Susan Cadogan,
Radiohead,
Crispian St. Peters,
Ultra Naté,
Niagra,
Lindisfarne,
Cymande,
Rowland S Howard / Lydia Lunch,
Lebanon Hanover,
David Axelrod,
The Pop Group,
Howard Jones,
a-ha,
Curtis Mayfield,
Piero Umiliani,
Alphaville,
Anakelly,
The Mighty Diamonds,
Pole,
The Music Machine,
Talk Talk,
The Star Department, The Star Department, The Star Department, The Star Department.
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.