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 Chile and from Delhi.
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 1971.
I'm losing my edge.
To all the kids in Columbus and Philadelphia.
I'm losing my edge to the art-school New York 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 spring reverb sounds with much patience.
I was there when David Bowie 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 Girls At Our Best! to the grunge 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 Alphaville. All the underground hits.
All Peter Gordon & Love of Life Orchestra tracks. I heard you have a vinyl of every Isaac Hayes record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Hill record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Raincoats,
The Barracudas,
Zero Boys,
The Mighty Diamonds,
Gil Scott-Heron and Jamie xx,
Fear,
the Normal,
The Peanut Butter Conspiracy,
The Sonics,
Deepchord,
Ponytail,
Janne Schatter,
The Names,
Loose Ends,
London Community Gospel Choir,
Audionom,
Scott Walker,
Black Sheep,
The Index,
The Doors,
Pierre Henry,
Ludus,
Smog,
Jeff Lynne,
Terrestrial Tones,
John Holt,
L. Decosne,
Freddie Wadling,
The Buckinghams,
Be Bop Deluxe,
Teenage Jesus and the Jerks,
Essential Logic,
DJ Style,
Glenn Branca,
Electric Light Orchestra,
Joey Negro,
Howard Jones,
Reagan Youth,
Todd Rundgren,
Donny Hathaway,
AZ,
the Germs,
Alton Ellis,
Bang on a Can All-Stars,
Skarface,
Dennis Brown,
Tres Demented,
Jesper Dahlback,
H. Thieme,
Faraquet,
Newcleus,
The Grass Roots,
the Sonics,
Dorothy Ashby,
Amazonics,
Cecil Taylor,
Kerrie Biddell,
The Gladiators,
Brand Nubian,
The Men They Couldn't Hang,
Aural Exciters,
Rhythm & Sound,
Depeche Mode, Depeche Mode, Depeche Mode, Depeche Mode.
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.