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 Canada and from Spokane.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Winnipeg and Houston.
I'm losing my edge to the art-school Cairo 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 clarinet 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 London Community Gospel Choir to the funk 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 Mark Hollis. All the underground hits.
All The Alarm Clocks tracks. I heard you have a vinyl of every Amon Düül II 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 '80s cut and another box set from the '90s.
I hear you're buying an oboe and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your sitar and bought a güiro.
I hear that you and your band have sold your güiro and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
A Flock of Seagulls,
Echo & the Bunnymen,
Y Pants,
Reuben Wilson,
Black Pus,
Brothers Johnson,
The Shadows of Knight,
Country Teasers,
Vladislav Delay,
Deutsch Amerikanische Freundschaft,
Hot Snakes,
Au Pairs,
Outsiders,
Gang of Four,
Mr. Review,
Captain Beefheart & His Magic Band,
These Immortal Souls,
Gian Franco Pienzio,
The Litter,
Metal Thangz,
The Beau Brummels,
Robert Hood,
Avey Tare's Slasher Flicks,
The Wake,
Lou Reed & John Cale,
DNA,
Pulsallama,
London Community Gospel Choir,
Average White Band,
Main Source,
Funkadelic,
Blake Baxter,
KRS-One,
Sun Ra Arkestra,
Jacques Brel,
Eric B and Rakim,
Sam Rivers,
Deadbeat,
The New Christs,
Jawbox,
Animal Collective,
Scott Walker + Sunn O))),
The Slackers,
Ten City,
Johnny Clarke,
Fat Boys,
Dave Gahan,
The Monks,
the Germs,
Aural Exciters,
Pharoah Sanders,
La Düsseldorf,
Trumans Water,
The Associates,
John Holt,
Popol Vuh,
Gong,
Boz Scaggs,
Marc Almond,
The Birthday Party,
Saccharine Trust, Saccharine Trust, Saccharine Trust, Saccharine Trust.
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.