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 Egypt and from Glasgow.
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 1961 to 1972.
I'm losing my edge.
To all the kids in London and Philadelphia.
I'm losing my edge to the art-school Salvador 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 linndrum sounds with much patience.
I was there when Holger Czukay 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 Rhythim Is Rhythim to the techno kids.
I played it at the Roxy.
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 Man Parrish. All the underground hits.
All The Last Poets tracks. I heard you have a vinyl of every Robert Hood 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 '80s cut and another box set from the '80s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Motorama record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kool Moe Dee,
Accadde A,
Todd Terry,
The Smiths,
Gil Scott Heron,
Anthony Braxton,
The Selecter,
Motorama,
Minor Threat,
Black Moon,
the Human League,
Black Bananas,
Franke,
Index,
Monolake,
Arcadia,
Judy Mowatt,
Barrington Levy,
Darondo,
Chris & Cosey,
Bad Manners,
Justin Hinds & The Dominoes,
Idris Muhammad,
Black Pus,
Severed Heads,
Traffic Nightmare,
Gang Gang Dance,
Slave,
the Soft Cell,
Erasure,
Marvin Gaye,
Sarah Menescal,
Hardrive,
Blancmange,
Wolf Eyes,
The Birthday Party,
Wighnomy Brothers & Robag Wruhme,
Lou Reed & John Cale,
PIL,
Cheater Slicks,
The Skatalites,
Iggy Pop,
The Monochrome Set,
The Flesh Eaters,
U.S. Maple,
The Angels of Light,
Moebius,
Maleditus Sound,
Groovy Waters,
Byron Stingily,
ABBA,
Fela Kuti,
Avey Tare,
Larry & the Blue Notes,
Unrelated Segments,
Quadrant,
Sister Nancy,
Gastr Del Sol,
Cal Tjader,
Skaos,
Oppenheimer Analysis,
The Gories, The Gories, The Gories, The Gories.
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.