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 Suriname and from Winnipeg.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Portland and Jakarta.
I'm losing my edge to the art-school Houston 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 1968 at the first Can practice in a loft in Cologne.
I was working on the guitar 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 Cabaret Voltaire to the techno kids.
I played it at CBGB's.
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 Swell Maps. All the underground hits.
All Khruangbin tracks. I heard you have a vinyl of every Oblivians record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a UT record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Donny Hathaway,
Schoolly D,
Sällskapet,
Scratch Acid,
The Skatalites,
Jesper Dahlback,
Al Stewart,
Pussy Galore,
Justin Hinds & The Dominoes,
The Moody Blues,
Alice Coltrane,
Slick Rick,
Slave,
Tres Demented,
Flipper,
Mantronix,
La Düsseldorf,
Malaria!,
Jacques Brel,
The Invisible,
Crime,
Terrestrial Tones,
The Cramps,
Liaisons Dangereuses,
This Heat,
Fort Wilson Riot,
Ralphi Rosario,
Talk Talk,
Amon Düül,
Severed Heads,
The Neon Judgement,
Television,
Camberwell Now,
Flamin' Groovies,
Neil Young,
Laurel Aitken,
The Techniques,
Kings Of Tomorrow,
Lower 48,
Blancmange,
Jacob Miller,
A Certain Ratio,
Neu!,
The Birthday Party,
Camouflage,
Nick Fraelich,
The Trojans,
Vaughan Mason & Crew,
Roxette,
Andrew Ashong & Theo Parrish,
Agitation Free,
The Selecter,
John Lydon,
Mad Mike,
Marc Romboy vs. Booka Shade,
The Mighty Diamonds,
Johnny Osbourne,
Gian Franco Pienzio,
Jawbox,
Soulsonic Force,
Tomorrow, Tomorrow, Tomorrow, Tomorrow.
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.