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 Serbia and from Mexico City.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Lyon and Toronto.
I'm losing my edge to the art-school Salvador 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 1968 at the first Can practice in a loft in Cologne.
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 Ajijia Myrayebe to the grime 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 Brick. All the underground hits.
All Lindisfarne tracks. I heard you have a vinyl of every Model 500 record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a harpsichord and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Lizzy Mercier Descloux record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Todd Terry,
Eddi Front,
Absolute Body Control,
The Shadows of Knight,
Junior Murvin,
Althea and Donna,
Y Pants,
Bootsy's Rubber Band,
Gil Scott-Heron and Jamie xx,
Dawn Penn,
Ohio Players,
New Order,
Technova,
Warren Ellis,
The Sonics,
London Community Gospel Choir,
Letta Mbulu,
Kango’s Stein Massive,
Tears for Fears,
X-102,
Eden Ahbez,
Pere Ubu,
the Bar-Kays,
Monolake,
Gil Scott Heron,
The Peanut Butter Conspiracy,
James White and The Blacks,
Tim Buckley,
The J.B.'s,
Throbbing Gristle,
The Index,
The Monochrome Set,
Television,
Fluxion,
Angels of Light & Akron/Family,
Hardrive,
The Electric Prunes,
A Certain Ratio,
Wasted Youth,
Jesper Dahlbäck,
Ice-T,
Jandek,
Minutemen,
a-ha,
The Sound,
Jeru the Damaja,
Soft Cell,
Scrapy,
Bobby Womack,
The Angels of Light,
Louis and Bebe Barron,
Derrick Morgan,
Graham Central Station,
Country Joe & The Fish,
The Mummies,
Delon & Dalcan,
the Soft Cell,
Young Marble Giants,
Vainqueur,
JFA,
The Grass Roots,
Girls At Our Best!,
Pole, Pole, Pole, Pole.
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.