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 Papua New Guinea and from Winnipeg.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Portland and Johannesburg.
I'm losing my edge to the art-school Paris 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 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 Liliput to the dance 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 Lizzy Mercier Descloux. All the underground hits.
All Jawbox tracks. I heard you have a vinyl of every Teenage Jesus and the Jerks record on German import.
I heard that you have a white label of every seminal grime 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 synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Section 25 record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tears for Fears,
A Certain Ratio,
Gang Starr,
Eddi Front,
Peter and Kerry,
John Coltrane,
Fifty Foot Hose,
The Gun Club,
Gong,
The Seeds,
Chrome,
Black Sheep,
Depeche Mode,
The Fire Engines,
Zapp,
Magazine,
The Knickerbockers,
Alice Coltrane,
Lou Christie,
Connie Case,
FM Einheit,
Lungfish,
It's A Beautiful Day,
Dorothy Ashby,
The Men They Couldn't Hang,
Oblivians,
Al Stewart,
The Red Krayola,
UT,
Lalann,
Black Flag,
Nirvana,
Alphaville,
The American Breed,
Motorama,
The Music Machine,
X-101,
The Buckinghams,
Kurtis Blow,
Vladislav Delay,
Jeff Mills,
Second Layer,
Kool G Rap & DJ Polo,
New Age Steppers,
John Lydon,
Red Lorry Yellow Lorry,
The Fuzztones,
Funkadelic,
JFA,
Soft Cell,
The Saints,
Cymande,
Eurythmics,
The Mummies,
Sonic Youth,
Lyres,
Moebius,
Aaron Thompson,
Teenage Jesus and the Jerks,
Altered Images,
The West Coast Pop Art Experimental Band,
Marc Romboy vs. Booka Shade,
The Golliwogs,
Rapeman, Rapeman, Rapeman, Rapeman.
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.