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 Georgia and from Salvador.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1962 to 1977.
I'm losing my edge.
To all the kids in New York and Bremen.
I'm losing my edge to the art-school Johannesburg 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 mellotron sounds with much patience.
I was there when David Bowie 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 Parry Music to the rock kids.
I played it at the Troubador.
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 Cybotron. All the underground hits.
All the Germs tracks. I heard you have a vinyl of every Buzzcocks 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 '90s.
I hear you're buying an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Eurythmics record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Last Poets,
The Smoke,
Shoche,
Television,
June of 44,
Matthew Halsall,
Mary Jane Girls,
Joey Negro,
David Axelrod,
Lucky Dragons,
Röyhkä ja Rättö ja Lehtisalo,
Amon Düül,
Eric B and Rakim,
Rahsaan Roland Kirk,
Roy Ayers Ubiquity,
Scratch Acid,
Strawberry Alarm Clock,
Joyce Sims,
These Immortal Souls,
Lou Reed & Metallica,
The Misunderstood,
Amazonics,
Rowland S Howard / Lydia Lunch,
Barry Ungar,
Buzzcocks,
Crispy Ambulance,
Lizzy Mercier Descloux,
Avey Tare & Kría Brekkan,
The Cramps,
Minor Threat,
Throbbing Gristle,
Chris & Cosey,
Half Japanese,
X-101,
Jeff Mills,
Terry Callier,
The Invisible,
The Men They Couldn't Hang,
Whodini,
FM Einheit,
Art Ensemble Of Chicago,
The Fire Engines,
Jimmy McGriff,
The Cosmic Jokers,
Roxette,
Johnny Osbourne,
Liliput,
The Pop Group,
Louis and Bebe Barron,
Kango’s Stein Massive,
Depeche Mode,
The Jesus and Mary Chain,
Slick Rick,
Goldenarms,
The Move,
Terror Squad Feat. Camron,
Sarah Menescal,
Idris Muhammad,
U.S. Maple,
Guru Guru,
Los Fastidios,
Siglo XX, Siglo XX, Siglo XX, Siglo XX.
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.