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 United Kingdom and from Manila.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Lagos and Houston.
I'm losing my edge to the art-school Cairo 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 clarinet 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 The Buckinghams to the rock kids.
I played it at the 40 Watt.
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 Los Fastidios. All the underground hits.
All R.M.O. tracks. I heard you have a vinyl of every Black Flag record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Hardrive record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
ABBA,
Althea and Donna,
Morten Harket,
Rites of Spring,
Laurel Aitken,
Barbara Tucker,
The American Breed,
Andrew Hill,
Babytalk,
Oblivians,
Justin Hinds & The Dominoes,
Animal Collective,
Funkadelic,
James White and The Blacks,
Charles Mingus,
The Vogues,
X-102,
Magazine,
Robert Görl,
Wire,
David Bowie,
Y Pants,
The Music Machine,
Inner City,
Thee Headcoats,
Jacques Brel,
Joyce Sims,
Heavy D & The Boyz,
Delon & Dalcan,
Terror Squad Feat. Camron,
The Misunderstood,
Aloha Tigers,
The Jesus and Mary Chain,
Graham Central Station,
Jerry Gold Smith,
Infiniti,
Funky Four + One,
Jandek,
A Flock of Seagulls,
Gian Franco Pienzio,
H. Thieme,
Alphaville,
The Black Dice,
A Certain Ratio,
Kango’s Stein Massive,
Roger Hodgson,
The Knickerbockers,
Yazoo,
The Standells,
Q65,
Louis and Bebe Barron,
The Dead C,
Half Japanese,
Young Marble Giants,
Index,
Simply Red,
Soft Machine,
Public Image Ltd.,
Grandmaster Flash and the Furious Five,
Blossom Toes,
Lucky Dragons,
Lonnie Liston Smith,
James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions.
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.