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 Comoros and from Cairo.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Shanghai and Bologna.
I'm losing my edge to the art-school Stockholm 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 marimba sounds with much patience.
I was there when Michael McDonald 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 Röyhkä ja Rättö ja Lehtisalo to the electroclash kids.
I played it at Trash.
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 Camron Feat. Jay Z And Juelz. All the underground hits.
All The Pretty Things tracks. I heard you have a vinyl of every Japan record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Main Source record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ash Ra Tempel,
Urselle,
Louis and Bebe Barron,
The Real Kids,
Girls At Our Best!,
Skarface,
R.M.O.,
Electric Light Orchestra,
Kaleidoscope,
Sun Ra Arkestra,
The Mojo Men,
Gang Green,
DNA,
Matthew Halsall,
The Divine Comedy,
Marcia Griffiths,
Subhumans,
Bauhaus,
Ronan,
Gian Franco Pienzio,
Hot Snakes,
Second Layer,
Schoolly D,
The Remains,
Depeche Mode,
Kevin Saunderson,
Piero Umiliani,
The Martian,
Gil Scott-Heron and Jamie xx,
The Zeros,
X-Ray Spex,
China Crisis,
Henry Cow,
Lizzy Mercier Descloux,
New Age Steppers,
Ultimate Spinach,
Lucky Dragons,
Siouxsie and the Banshees,
Ajijia Myrayebe,
Wire,
MDC,
Jandek,
Icehouse,
Section 25,
Cymande,
Visage,
Japan,
The Names,
Bill Wells,
The Buckinghams,
Dead Boys,
Letta Mbulu,
Monolake,
Rotary Connection,
Bad Manners,
ABC,
Liliput,
Nils Olav,
The Move,
Vladislav Delay,
The Young Rascals,
Nick Fraelich, Nick Fraelich, Nick Fraelich, Nick Fraelich.
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.