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 Japan and from Sao Paulo.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1976.
I'm losing my edge.
To all the kids in Manila and Manila.
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 güiro sounds with much patience.
I was there when Lou Reed 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 Pop Group to the punk kids.
I played it at the 40 Watt.
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 Smoke. All the underground hits.
All Y Pants tracks. I heard you have a vinyl of every Vladislav Delay record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a rhodes and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Fire Engines record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Shuggie Otis,
Minnie Riperton,
Lower 48,
Sound Behaviour,
This Heat,
Mo-Dettes,
Desert Stars,
Average White Band,
Frankie Knuckles,
Neu!,
The Kinks,
Youth Brigade,
The Residents,
Byron Stingily,
Slick Rick,
Skriet,
Ronnie Foster,
Laurel Aitken,
Rahsaan Roland Kirk,
Morten Harket,
Bauhaus,
Deakin,
June Days,
Mantronix,
Niagra,
The Real Kids,
Marc Almond,
Funkadelic,
Erasure,
Scan 7,
Vladislav Delay,
Oblivians,
Eric Dolphy,
Mandrill,
Carl Craig,
Reuben Wilson,
The Grass Roots,
Barrington Levy,
H. Thieme,
Robert Görl,
The Beau Brummels,
Warsaw,
Hoover,
Ultimate Spinach,
F. McDonald,
Adolescents,
The Monochrome Set,
Moebius,
Ornette Coleman,
the Soft Cell,
Pussy Galore,
Cal Tjader,
Kayak,
Radiohead,
Dual Sessions,
La Düsseldorf,
Monks,
The Toasters,
Underground Resistance,
Wighnomy Brothers & Robag Wruhme,
Rotary Connection, Rotary Connection, Rotary Connection, Rotary Connection.
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.