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 Togo and from Manila.
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 1974.
I'm losing my edge.
To all the kids in Houston and New York.
I'm losing my edge to the art-school Hong Kong 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 harpsichord sounds with much patience.
I was there when Robert Palmer 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 Todd Rundgren to the disco 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 Das Ding. All the underground hits.
All Judy Mowatt tracks. I heard you have a vinyl of every Drexciya 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 '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Bobby Sherman record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
World's Most,
Bauhaus,
Althea and Donna,
Minnie Riperton,
Camouflage,
The Smiths,
cv313,
Ludus,
Eyeless In Gaza,
Steve Hackett,
Marc Romboy vs. Booka Shade,
Gang Green,
the Association,
Lindisfarne,
Matthew Halsall,
Lou Reed & Metallica,
Sonny Sharrock,
Black Bananas,
A Flock of Seagulls,
Tears for Fears,
Amon Düül,
Gabor Szabo,
Grey Daturas,
Interpol,
Quadrant,
Vladislav Delay,
Junior Murvin,
Aural Exciters,
Stereo Dub,
Ponytail,
The Divine Comedy,
Charles Mingus,
Depeche Mode,
Dead Boys,
Danielle Patucci,
Roy Ayers Ubiquity,
The Gladiators,
Byron Stingily,
Schoolly D,
Yellowson,
Mr. Review,
Bang on a Can All-Stars,
Frankie Knuckles,
The Jesus and Mary Chain,
The Red Krayola,
Drexciya,
ABBA,
Sam Rivers,
Echo & the Bunnymen,
Avey Tare & Kría Brekkan,
The Standells,
Crispy Ambulance,
The Neon Judgement,
Sound Behaviour,
Ultramagnetic MC's,
Tommy Roe,
Robert Wyatt,
The Shadows of Knight,
Rosa Yemen,
Audionom,
Gang Gang Dance,
Kings Of Tomorrow,
The Golliwogs, The Golliwogs, The Golliwogs, The Golliwogs.
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.