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 Rwanda and from Accra.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Jakarta and Sao Paulo.
I'm losing my edge to the art-school Sao Paulo 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 Buzzcocks practice in a loft in Bolton.
I was working on the clarinet 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 The Fire Engines to the techno 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 Gil Scott-Heron and Jamie xx. All the underground hits.
All X-Ray Spex tracks. I heard you have a vinyl of every Babytalk 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 '90s.
I hear you're buying a linndrum and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Dual Sessions record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lindisfarne,
Nation of Ulysses,
The Leaves,
The Trojans,
June Days,
Kaleidoscope,
Blake Baxter,
Kango’s Stein Massive,
Radio Birdman,
Deepchord,
Byron Stingily,
A Certain Ratio,
Teenage Jesus and the Jerks,
Section 25,
Black Flag,
Wire,
Gregory Isaacs,
Arab on Radar,
Sparks,
Brass Construction,
Jacques Brel,
The Monks,
Erykah Badu,
Electric Light Orchestra,
Bill Wells,
Dorothy Ashby,
Vaughan Mason & Crew,
Rites of Spring,
Procol Harum,
The Neon Judgement,
Marvin Gaye,
Rufus Thomas,
Danielle Patucci,
The Residents,
Suicide,
Massinfluence,
The Dave Clark Five,
Lalo Schifrin,
KRS-One,
Nico,
Johnny Osbourne,
Avey Tare's Slasher Flicks,
Kas Product,
EPMD,
Hasil Adkins,
Brick,
Y Pants,
The Cowsills,
Oppenheimer Analysis,
The Jesus and Mary Chain,
Dark Day,
Vainqueur,
DNA,
Kerri Chandler,
Duran Duran,
China Crisis,
The Fall,
Man Eating Sloth,
Funkadelic,
Public Enemy,
Idris Muhammad,
Godley & Creme,
Ronan,
Sun City Girls,
Subhumans, Subhumans, Subhumans, Subhumans.
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.