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 Moldova and from Tokyo.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Stockholm and London.
I'm losing my edge to the art-school Lyon 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 marimba sounds with much patience.
I was there when Robert Palmer 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 FM Einheit 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 U.S. Maple. All the underground hits.
All Sam Rivers tracks. I heard you have a vinyl of every Bauhaus record on German import.
I heard that you have a white label of every seminal electroclash 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 arpeggiator and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Notorious Big And Bone Thugs record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kevin Saunderson,
Rhythm & Sound,
The Walker Brothers,
a-ha,
Hoover,
Glenn Branca,
The Detroit Cobras,
Chris Corsano,
The Alarm Clocks,
Nick Cave & The Bad Seeds,
Grandmaster Flash,
Johnny Osbourne,
Eric Dolphy,
KRS-One,
Negative Approach,
The Flesh Eaters,
Jesper Dahlback,
B.T. Express,
Oblivians,
Lucky Dragons,
Monolake,
Aural Exciters,
Graham Central Station,
Buzzcocks,
Interpol,
Dark Day,
Neu!,
Depeche Mode,
Junior Murvin,
Louis and Bebe Barron,
The Durutti Column,
Rekid,
Charles Mingus,
Eve St. Jones,
John Cale,
Porter Ricks,
Mark Hollis,
Fort Wilson Riot,
The Peanut Butter Conspiracy,
The Stooges,
Angels of Light & Akron/Family,
Young Marble Giants,
Gichy Dan,
Youth Brigade,
Jawbox,
Bob Dylan,
the Swans,
Dead Boys,
Ohio Players,
Oneida,
Arab on Radar,
Yellowson,
Moby Grape,
Dave Gahan,
Max Romeo,
Todd Terry,
Kas Product,
The Moleskins,
Derrick May,
Con Funk Shun,
Sixth Finger,
Fela Kuti,
Rapeman,
MC5, MC5, MC5, MC5.
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.