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 Senegal and from Tokyo.
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 1979.
I'm losing my edge.
To all the kids in Woodstock and Milan.
I'm losing my edge to the art-school Mumbai 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 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 Pulsallama to the grime kids.
I played it at Trash.
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 Kango’s Stein Massive. All the underground hits.
All The Vogues tracks. I heard you have a vinyl of every Jerry Gold Smith record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a clarinet and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Lalann 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?
Parry Music,
Camberwell Now,
The Standells,
The Alarm Clocks,
Bizarre Inc.,
Nick Fraelich,
A Certain Ratio,
Theoretical Girls,
Yellowson,
Donald Byrd,
Rapeman,
Vladislav Delay,
Public Enemy,
Porter Ricks,
Oneida,
Drive Like Jehu,
Tubeway Army,
Cluster,
8 Eyed Spy,
Jerry's Kids,
Tres Demented,
Marshall Jefferson,
Lizzy Mercier Descloux,
Mantronix,
Peter Gordon & Love of Life Orchestra,
Franke,
Stereo Dub,
ABC,
Charles Mingus,
Shoche,
The Buckinghams,
Ronan,
June of 44,
cv313,
Electric Prunes,
Blossom Toes,
The Kinks,
Barbara Tucker,
Tomorrow,
Wolf Eyes,
Amon Düül,
The Cowsills,
a-ha,
Ornette Coleman,
Moby Grape,
the Fania All-Stars,
Johnny Clarke,
Babytalk,
Nation of Ulysses,
Anakelly,
Freddie Wadling,
Carl Craig,
Television,
The Count Five,
Stetsasonic,
The Sonics,
the Association,
Arab on Radar,
Moebius,
Chris & Cosey,
The Star Department,
Pere Ubu, Pere Ubu, Pere Ubu, Pere Ubu.
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.