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 Guatemala and from Mexico City.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Winnipeg and Shanghai.
I'm losing my edge to the art-school Bologna 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 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 Joey Negro to the grime kids.
I played it at the Crocodile.
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 Buzzcocks. All the underground hits.
All Scott Walker tracks. I heard you have a vinyl of every The New Christs record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a rhodes and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Magazine record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pussy Galore,
Teenage Jesus and the Jerks,
Negative Approach,
Khruangbin,
Ornette Coleman,
Donny Hathaway,
Can,
Procol Harum,
The Busters,
Bootsy Collins,
The Monochrome Set,
Ponytail,
Country Teasers,
The Velvet Underground,
The Motions,
Susan Cadogan,
Cabaret Voltaire,
Stiv Bators,
Ajijia Myrayebe,
Essential Logic,
Girls At Our Best!,
Blossom Toes,
The Kinks,
Rhythm & Sound,
Von Mondo,
Easy Going,
Sarah Menescal,
Country Joe & The Fish,
Average White Band,
Guru Guru,
The Beau Brummels,
Alison Limerick,
Masters at Work,
Ronnie Foster,
Grey Daturas,
Drive Like Jehu,
Manfred Mann's Earth Band,
The Chocolate Watch Band,
Nils Olav,
Pagans,
The Mummies,
Monks,
The Gun Club,
The Star Department,
Harmonia,
Gil Scott-Heron and Jamie xx,
David Bowie,
Curtis Mayfield,
Qualms,
Fad Gadget,
Röyhkä ja Rättö ja Lehtisalo,
Q and Not U,
Junior Murvin,
OOIOO,
Chris & Cosey,
Isaac Hayes,
Nik Kershaw,
Crispy Ambulance,
Livin' Joy,
Hashim,
Lakeside,
Lalo Schifrin,
The Martian, The Martian, The Martian, The Martian.
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.