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 Liechtenstein and from Bologna.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Portland and Portland.
I'm losing my edge to the art-school Johannesburg 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 1984 at the first Arcadia practice in a loft in London.
I was working on the organ sounds with much patience.
I was there when Holger Czukay 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 Tommy Roe to the techno 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 Röyhkä ja Rättö ja Lehtisalo. All the underground hits.
All Nick Fraelich tracks. I heard you have a vinyl of every Mark Hollis 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 snare and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Aloha Tigers record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Görl,
New Age Steppers,
Cabaret Voltaire,
Theoretical Girls,
Dark Day,
Faraquet,
a-ha,
Lebanon Hanover,
Barbara Tucker,
Outsiders,
Albert Ayler,
Heavy D & The Boyz,
Sly & The Family Stone,
Louis and Bebe Barron,
48th St. Collective,
Joyce Sims,
Andrew Ashong & Theo Parrish,
Fluxion,
Connie Case,
The Vogues,
Robert Wyatt,
The Tremeloes,
Cybotron,
Bill Wells,
The Monks,
David Bowie,
Lungfish,
The Birthday Party,
The Grass Roots,
Rufus Thomas,
The Misunderstood,
Sixth Finger,
Black Moon,
Infiniti,
The Sisters of Mercy,
Monolake,
Jimmy McGriff,
Q65,
Magma,
Motorama,
Gastr Del Sol,
Juan Atkins,
Icehouse,
Country Joe & The Fish,
Stetsasonic,
Fugazi,
Skriet,
Zero Boys,
Lizzy Mercier Descloux,
Schoolly D,
Oppenheimer Analysis,
K-Klass,
Stockholm Monsters,
Agitation Free,
In Retrospect,
Roxette,
Con Funk Shun,
DNA,
Depeche Mode,
Kerri Chandler,
The Wake,
Agent Orange, Agent Orange, Agent Orange, Agent Orange.
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.