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 Ethiopia and from Salvador.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Hong Kong and Toronto.
I'm losing my edge to the art-school Taipei 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 rhodes 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 Urselle to the disco kids.
I played it at the Astoria.
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 Cameo. All the underground hits.
All Skarface tracks. I heard you have a vinyl of every Slave record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Camouflage record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marcia Griffiths,
Boredoms,
Yellowson,
Kango’s Stein Massive,
Rekid,
Delta 5,
Gil Scott-Heron & Brian Jackson,
Magma,
John Lydon,
Matthew Bourne,
Deadbeat,
Zero Boys,
Ossler,
Eddi Front,
Second Layer,
Accadde A,
Ultimate Spinach,
Kerrie Biddell,
Sun Ra Arkestra,
Procol Harum,
Crooked Eye,
Sonny Sharrock,
Inner City,
Flipper,
The Fall,
The Monks,
Arcadia,
Lebanon Hanover,
Gang Starr,
Yazoo,
Bad Manners,
Josef K,
Ponytail,
Underground Resistance,
Super Lover Cee & Casanova Rud,
The Royal Family And The Poor,
Lindisfarne,
The American Breed,
The Moleskins,
Thompson Twins,
Juan Atkins,
Echo & the Bunnymen,
Crash Course in Science,
Glambeats Corp.,
Mandrill,
The Black Dice,
Sound Behaviour,
DeepChord presents Echospace,
Rod Modell,
Jesper Dahlbäck,
The Pop Group,
Wolf Eyes,
Pete Rock & C.L. Smooth,
cv313,
The Red Krayola,
Visage,
Aaron Thompson,
Swans,
Patti Smith,
Duran Duran,
John Coltrane,
Steve Hackett,
Radio Birdman, Radio Birdman, Radio Birdman, Radio Birdman.
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.