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 Taipei.
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 1975.
I'm losing my edge.
To all the kids in Halifax and Philadelphia.
I'm losing my edge to the art-school Paris 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the chamberlin sounds with much patience.
I was there when Michael McDonald 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 Ituana to the dance kids.
I played it at the Astoria.
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 Eric B and Rakim. All the underground hits.
All Aaron Thompson tracks. I heard you have a vinyl of every Drive Like Jehu record on German import.
I heard that you have a white label of every seminal jazz 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 marimba and are throwing your macbook out the window because you want to make something real. You want to make a Average White Band record.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Colin Newman,
T. Rex,
Sex Pistols,
Idris Muhammad,
Roy Ayers,
Yazoo,
The West Coast Pop Art Experimental Band,
Essential Logic,
the Bar-Kays,
Matthew Halsall,
The Cosmic Jokers,
Cymande,
Banda Bassotti,
Niagra,
Black Moon,
Ten City,
Nation of Ulysses,
Notorious Big And Bone Thugs,
Flamin' Groovies,
Leonard Cohen,
Sound Behaviour,
Main Source,
The Walker Brothers,
Aloha Tigers,
Joensuu 1685,
Fugazi,
Bill Wells,
Goldenarms,
Isaac Hayes,
FM Einheit,
B.T. Express,
The Techniques,
Scratch Acid,
Godley & Creme,
The Residents,
Clear Light,
Nick Fraelich,
EPMD,
Kango’s Stein Massive,
The Fugs,
The Wake,
Can,
Sister Nancy,
X-102,
Urselle,
Section 25,
Ralphi Rosario,
Das Ding,
Soulsonic Force,
Television,
DJ Sneak,
The Golliwogs,
Sugar Minott,
The Offenders,
Pulsallama,
Marshall Jefferson,
Easy Going,
Dorothy Ashby,
The Cramps,
Country Joe & The Fish,
The Moleskins,
The Index,
Inner City, Inner City, Inner City, Inner City.
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.