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 Dominican Republic and from Stockholm.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Hong Kong and Seoul.
I'm losing my edge to the art-school Mexico City 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 theremin 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 Fort Wilson Riot to the dance 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 Drexciya. All the underground hits.
All Pharoah Sanders tracks. I heard you have a vinyl of every Larry & the Blue Notes record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an organ and a linndrum 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 an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Drexciya,
Supertramp,
the Association,
Lou Reed,
X-Ray Spex,
Henry Cow,
Roy Ayers Ubiquity,
Fugazi,
Connie Case,
Heavy D & The Boyz,
Carl Craig,
Bush Tetras,
OOIOO,
DJ Sneak,
The Raincoats,
Liaisons Dangereuses,
Lonnie Liston Smith,
The Seeds,
Lou Christie,
The Gun Club,
Shoche,
John Cale,
the Normal,
Sad Lovers and Giants,
Flipper,
The Remains,
Lightning Bolt,
Ornette Coleman,
Soul II Soul,
Half Japanese,
The Alarm Clocks,
Cymande,
Colin Newman,
David Axelrod,
Skarface,
Skriet,
Minor Threat,
The Five Americans,
Jacques Brel,
Wally Richardson,
Morten Harket,
Neu!,
X-102,
The Slackers,
Sticky Fingaz feat. Raekwon,
Gregory Isaacs,
Lucky Dragons,
Justin Hinds & The Dominoes,
Country Teasers,
Kings Of Tomorrow,
The American Breed,
Buzzcocks,
Camberwell Now,
Mr. Review,
The Smiths,
The Barracudas,
Big Daddy Kane,
Ossler,
Joyce Sims,
X-101,
N.O.R.E. Featuring Pharrell,
Depeche Mode,
Sex Pistols,
The Buckinghams, The Buckinghams, The Buckinghams, The Buckinghams.
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.