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 Luxembourg and from Sao Paulo.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Tokyo and Accra.
I'm losing my edge to the art-school Beijing 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 1962 at the first Guess Who practice in a loft in Winnipeg.
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 Suburban Knight to the rap kids.
I played it at the 40 Watt.
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 Angry Samoans. All the underground hits.
All Eli Mardock tracks. I heard you have a vinyl of every Johnny Osbourne record on German import.
I heard that you have a white label of every seminal disco 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 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 Rod Modell record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eddi Front,
Nils Olav,
Mo-Dettes,
Alphaville,
Hashim,
Bill Wells,
Section 25,
La Düsseldorf,
Bluetip,
Warren Ellis,
Mandrill,
Pierre Henry,
Ronnie Foster,
Jeff Mills,
Leonard Cohen,
X-101,
Loose Ends,
Red Lorry Yellow Lorry,
Pylon,
The Skatalites,
Shoche,
Pet Shop Boys,
The American Breed,
Peter & Gordon,
Pussy Galore,
Vaughan Mason & Crew,
Strawberry Alarm Clock,
Eyeless In Gaza,
Oppenheimer Analysis,
Bush Tetras,
Can,
Crispy Ambulance,
Isaac Hayes,
Marvin Gaye,
Depeche Mode,
The Vogues,
The Last Poets,
Young Marble Giants,
Ituana,
The Alarm Clocks,
Scratch Acid,
Dr. Dre and Snoop Doggy Dog,
Amon Düül,
Peter Gordon & Love of Life Orchestra,
Goldenarms,
Sun City Girls,
Intrusion,
Sister Nancy,
Magazine,
The Trojans,
Accadde A,
Super Lover Cee & Casanova Rud,
48th St. Collective,
Albert Ayler,
Minny Pops,
Jimmy McGriff,
Minutemen,
Charles Mingus,
Sandy B,
DeepChord presents Echospace,
Skriet,
Robert Görl, Robert Görl, Robert Görl, Robert Görl.
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.