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 Korea North and from Milan.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Tehran and Copenhagen.
I'm losing my edge to the art-school Stockholm 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the clarinet sounds with much patience.
I was there when Captain Beefheart 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 Aaron Thompson to the funk 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 The Doors. All the underground hits.
All Radio Birdman tracks. I heard you have a vinyl of every Stiv Bators 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 '70s cut and another box set from the '80s.
I hear you're buying a guitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Shadows of Knight record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Sheep,
Lyres,
Deutsch Amerikanische Freundschaft,
Tom Boy,
Warren Ellis,
Terrestrial Tones,
A Certain Ratio,
Parry Music,
Faust,
Kauko Röyhkä ja Narttu,
Massinfluence,
Manfred Mann's Earth Band,
Anakelly,
Rites of Spring,
The Standells,
Television Personalities,
Whodini,
Nirvana,
The Skatalites,
Blake Baxter,
The West Coast Pop Art Experimental Band,
Urselle,
Lindisfarne,
Avey Tare,
Bad Manners,
Lakeside,
Boredoms,
Pere Ubu,
The Pop Group,
Scratch Acid,
D'Angelo,
Bauhaus,
Junior Murvin,
Crime,
Mad Mike,
The Victims,
Erasure,
Crispy Ambulance,
Sad Lovers and Giants,
Bluetip,
The Moody Blues,
X-Ray Spex,
Boz Scaggs,
Donny Hathaway,
Deadbeat,
Slick Rick,
The Monks,
Heaven 17,
Roxy Music,
Eurythmics,
Sex Pistols,
Suicide,
Alice Coltrane,
Anthony Braxton,
Y Pants,
Stiv Bators,
Joe Finger,
8 Eyed Spy,
Basic Channel,
Tommy Roe,
Ultravox,
Janne Schatter, Janne Schatter, Janne Schatter, Janne Schatter.
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.