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 Switzerland 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 1979.
I'm losing my edge.
To all the kids in Mexico City and Madrid.
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 1968 at the first Can practice in a loft in Cologne.
I was working on the sitar sounds with much patience.
I was there when David Bowie 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 Flash Fearless to the dance kids.
I played it at the Spitz.
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 Roy Ayers. All the underground hits.
All the Swans tracks. I heard you have a vinyl of every K-Klass 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 '50s cut and another box set from the '90s.
I hear you're buying a 808 and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a DNA record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lucky Dragons,
the Association,
Interpol,
Fear,
Blake Baxter,
Camron Feat. Jay Z And Juelz,
Jesper Dahlback,
The West Coast Pop Art Experimental Band,
Rufus Thomas,
Talk Talk,
Deakin,
Urselle,
The Blackbyrds,
The Peanut Butter Conspiracy,
Lakeside,
Peter & Gordon,
The Shadows of Knight,
Rowland S Howard / Lydia Lunch,
Connie Case,
Peter and Kerry,
Eyeless In Gaza,
Amon Düül,
The Fall,
Agitation Free,
The Electric Prunes,
Lou Christie,
Radio Birdman,
Piero Umiliani,
Sad Lovers and Giants,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Drexciya,
Patti Smith,
Soul II Soul,
The Stooges,
Bootsy Collins,
Cluster,
The Kinks,
Avey Tare,
Audionom,
Newcleus,
Silicon Teens,
Howard Jones,
Hashim,
The Leaves,
The Royal Family And The Poor,
LL Cool J,
The Gun Club,
Y Pants,
Pete Rock & C.L. Smooth,
Neil Young & Crazy Horse,
Barclay James Harvest,
Mantronix,
Eric B and Rakim,
Sixth Finger,
The Cowsills,
Barrington Levy,
Kauko Röyhkä ja Narttu,
In Retrospect,
The Seeds,
T. Rex,
Pole,
Au Pairs,
Lightning Bolt,
Babytalk, Babytalk, Babytalk, Babytalk.
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.