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 Taiwan and from Tehran.
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 1973.
I'm losing my edge.
To all the kids in Mumbai and Spokane.
I'm losing my edge to the art-school Philadelphia 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 808 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 The Detroit Cobras to the disco 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 Accadde A. All the underground hits.
All The Mummies tracks. I heard you have a vinyl of every Scott Walker record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a harpsichord and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Archie Shepp record.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Das Ding,
T.S.O.L.,
Smog,
Jacques Brel,
Inner City,
Kings Of Tomorrow,
Grandmaster Flash,
Liliput,
The Barracudas,
Cameo,
New Order,
Roy Ayers Ubiquity,
Groovy Waters,
The Shadows of Knight,
Alison Limerick,
Rosa Yemen,
Peter & Gordon,
The Velvet Underground,
Orchestral Manoeuvres in the Dark,
Alice Coltrane,
These Immortal Souls,
The Techniques,
Fear,
Henry Cow,
Shuggie Otis,
Moby Grape,
Lou Reed & John Cale,
KRS-One,
Au Pairs,
Circle Jerks,
Siglo XX,
Joyce Sims,
Toni Rubio,
Tears for Fears,
Negative Approach,
Reagan Youth,
Neu!,
Glambeats Corp.,
The Slackers,
Chris Corsano,
Chris & Cosey,
Pharaoh Sanders and the Fire Engines,
X-102,
Frankie Knuckles,
Barrington Levy,
The Cowsills,
Heavy D & The Boyz,
Cluster,
Gang of Four,
Angry Samoans,
John Coltrane,
T. Rex,
Jerry Gold Smith,
The Wake,
The Toasters,
Michelle Simonal,
The Monks,
Brass Construction,
Porter Ricks,
Ten City, Ten City, Ten City, Ten City.
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.