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 Panama and from Stockholm.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1977.
I'm losing my edge.
To all the kids in Winnipeg and Cairo.
I'm losing my edge to the art-school Edmonton 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 mellotron 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 The Kinks to the jazz 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 Liaisons Dangereuses. All the underground hits.
All John Coltrane tracks. I heard you have a vinyl of every The Busters 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 '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Saccharine Trust record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Victims,
James White and The Blacks,
Sugar Minott,
Jerry Gold Smith,
Toni Rubio,
Groovy Waters,
Tom Boy,
X-101,
The Stooges,
Throbbing Gristle,
the Human League,
New York Dolls,
Franke,
Eddi Front,
The Monks,
Man Parrish,
Grandmaster Flash,
K-Klass,
Reagan Youth,
The Smiths,
Gregory Isaacs,
Supertramp,
Dave Gahan,
Eric Dolphy,
Index,
Kerrie Biddell,
Barbara Tucker,
Harpers Bizarre,
The Wake,
Crispian St. Peters,
Minor Threat,
DeepChord presents Echospace,
Dead Boys,
The New Christs,
Camron Feat. Memphis Bleek And Beenie Seigel,
Flamin' Groovies,
Wings,
Bootsy Collins,
Thompson Twins,
Ponytail,
Mars,
Public Image Ltd.,
Al Stewart,
Sunsets and Hearts,
Shuggie Otis,
Pylon,
Public Enemy,
Mandrill,
Fear,
Lucky Dragons,
a-ha,
Gary Puckett & The Union Gap,
Cybotron,
The Mighty Diamonds,
Soul II Soul,
Sonny Sharrock,
Orchestral Manoeuvres in the Dark,
Sexual Harrassment,
Bootsy's Rubber Band,
The Toasters,
Ornette Coleman, Ornette Coleman, Ornette Coleman, Ornette Coleman.
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.