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 Iran and from Houston.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Glasgow and Manila.
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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the guitar sounds with much patience.
I was there when Nile Rodgers 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 Chocolate Watch Band to the grime kids.
I played it at the Roxy.
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 Rufus Thomas. All the underground hits.
All Bobby Sherman tracks. I heard you have a vinyl of every The Misunderstood 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 '90s.
I hear you're buying a guitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lafayette Afro Rock Band,
Technova,
Lungfish,
Groovy Waters,
E-Dancer,
the Soft Cell,
Livin' Joy,
Traffic Nightmare,
The Jesus and Mary Chain,
The Birthday Party,
The Slits,
Rahsaan Roland Kirk,
Curtis Mayfield,
Kerri Chandler,
Ajijia Myrayebe,
B.T. Express,
Jeff Lynne,
Soul II Soul,
Arcadia,
The Busters,
Porter Ricks,
John Lydon,
China Crisis,
Wire,
DNA,
Make Up,
Kool Moe Dee,
Monks,
Lightning Bolt,
Donald Byrd,
Harmonia,
Barry Ungar,
KRS-One,
Gichy Dan,
Neil Young,
Blancmange,
Tom Boy,
F. McDonald,
The Residents,
Cymande,
Amon Düül,
London Community Gospel Choir,
The Moleskins,
Dark Day,
The Gories,
Crash Course in Science,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Gian Franco Pienzio,
Sarah Menescal,
kango's stein massive,
Ultimate Spinach,
PIL,
Mandrill,
The Knickerbockers,
Black Sheep,
Howard Jones,
Eve St. Jones,
Neu!,
Neil Young & Crazy Horse,
Severed Heads,
The Monks,
Theoretical Girls, Theoretical Girls, Theoretical Girls, Theoretical Girls.
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.