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 Netherlands and from Taipei.
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 1970.
I'm losing my edge.
To all the kids in Edmonton and Copenhagen.
I'm losing my edge to the art-school Toronto 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the guitar sounds with much patience.
I was there when Tom Verlaine 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 Tremeloes to the rock 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 Das Ding. All the underground hits.
All Talk Talk tracks. I heard you have a vinyl of every Deakin 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 '50s cut and another box set from the '90s.
I hear you're buying a theremin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Marshall Jefferson record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Steve Hackett,
Kaleidoscope,
Glambeats Corp.,
Aural Exciters,
Major Organ And The Adding Machine,
Mary Jane Girls,
Boredoms,
Isaac Hayes,
Minutemen,
The Dave Clark Five,
Oppenheimer Analysis,
Parry Music,
Traffic Nightmare,
Crispian St. Peters,
Rhythm & Sound,
Anakelly,
Arab on Radar,
Silicon Teens,
Malaria!,
Sly & The Family Stone,
Brand Nubian,
Alice Coltrane,
Fad Gadget,
Scratch Acid,
The Real Kids,
The Pretty Things,
Dorothy Ashby,
the Bar-Kays,
Symarip,
Gang Gang Dance,
Ohio Players,
Ken Boothe,
The Slits,
Peter and Kerry,
Tres Demented,
Joensuu 1685,
Stiv Bators,
Index,
Notorious Big And Bone Thugs,
Graham Central Station,
Yazoo,
Porter Ricks,
Amon Düül II,
Max Romeo,
Delon & Dalcan,
Tim Buckley,
The Remains,
Clear Light,
Soft Cell,
June Days,
These Immortal Souls,
Rapeman,
Public Image Ltd.,
Depeche Mode,
Quadrant,
Grey Daturas,
Brick,
Albert Ayler,
John Coltrane,
Gang of Four,
Kerrie Biddell,
Yaz, Yaz, Yaz, Yaz.
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.