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 Syria and from London.
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 1971.
I'm losing my edge.
To all the kids in Portland and Houston.
I'm losing my edge to the art-school Manila 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 organ 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 Electric Light Orchestra to the grime 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 Selector Dub Narcotic. All the underground hits.
All Pylon tracks. I heard you have a vinyl of every The Knickerbockers 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 guitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Stockholm Monsters 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?
Lebanon Hanover,
Pharaoh Sanders and the Fire Engines,
La Düsseldorf,
The Flesh Eaters,
Cal Tjader,
Spandau Ballet,
Brothers Johnson,
Eric Dolphy,
Quadrant,
The Leaves,
Cymande,
Panda Bear,
Urselle,
Hasil Adkins,
Ultramagnetic MC's,
The Martian,
Man Parrish,
Japan,
The Alarm Clocks,
Yazoo,
Carl Craig,
Lower 48,
Fad Gadget,
The Neon Judgement,
Junior Murvin,
The Angels of Light,
Pussy Galore,
The Index,
Sound Behaviour,
Mr. Review,
Country Teasers,
Spoonie Gee,
Ralphi Rosario,
Harmonia,
Albert Ayler,
Don Cherry,
Radiohead,
Blancmange,
Tres Demented,
Popol Vuh,
The Five Americans,
Lee Hazlewood,
Ash Ra Tempel,
Freddie Wadling,
the Fania All-Stars,
Drexciya,
Crash Course in Science,
Roy Ayers Ubiquity,
Radiopuhelimet,
Agitation Free,
Lou Christie,
The Fall,
Neil Young,
Monks,
Groovy Waters,
Heaven 17,
The Busters,
Bobby Sherman,
Gerry Rafferty,
Fatback Band,
Pylon,
Technova,
the Soft Cell,
AZ, AZ, AZ, AZ.
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.