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 Kuwait 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 1962 to 1976.
I'm losing my edge.
To all the kids in Tokyo and Madrid.
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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the 808 sounds with much patience.
I was there when Lou Reed 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 Interpol to the rap 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 Camberwell Now. All the underground hits.
All The Techniques tracks. I heard you have a vinyl of every The Litter record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a linndrum and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Public Enemy record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Visionaries,LMNO, T- Love & Iriscience,
World's Most,
The Move,
Yellowson,
Blake Baxter,
Eden Ahbez,
the Swans,
Sun Ra Arkestra,
Q and Not U,
Lizzy Mercier Descloux,
Mr. Review,
Amon Düül II,
The Buckinghams,
Hoover,
Half Japanese,
DJ Sneak,
Jesper Dahlbäck,
Albert Ayler,
Swell Maps,
Gerry Rafferty,
E-Dancer,
Dead Boys,
Kayak,
Newcleus,
Hasil Adkins,
cv313,
H. Thieme,
Rhythim Is Rhythim,
The Barracudas,
The Skatalites,
Amon Düül,
The Human League,
The Dead C,
Sound Behaviour,
the Human League,
Pagans,
Sex Pistols,
Isaac Hayes,
Nas,
Pulsallama,
Howard Jones,
Lou Reed,
Subhumans,
Scott Walker + Sunn O))),
Nirvana,
Traffic Nightmare,
David McCallum,
Glenn Branca,
The Red Krayola,
Joy Division,
Aaron Thompson,
Qualms,
Sun City Girls,
Maleditus Sound,
Bob Dylan,
Fat Boys,
Max Romeo,
Bobby Hutcherson,
John Holt,
Symarip,
Kerrie Biddell,
Lebanon Hanover,
Eddi Front,
The Angels of Light, The Angels of Light, The Angels of Light, The Angels of Light.
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.