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 Micronesia and from Columbus.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Tehran and London.
I'm losing my edge to the art-school Milan 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 linndrum sounds with much patience.
I was there when Holger Czukay 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 Reagan Youth to the disco kids.
I played it at the Troubador.
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 Roy Ayers Ubiquity. All the underground hits.
All The Invisible tracks. I heard you have a vinyl of every Nico 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 '50s cut and another box set from the '80s.
I hear you're buying a sitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Lizzy Mercier Descloux 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?
Quadrant,
Black Pus,
The Tremeloes,
The Pretty Things,
Bill Near,
Bang on a Can All-Stars,
Liliput,
48th St. Collective,
DeepChord presents Echospace,
Marc Romboy vs. Booka Shade,
Sun Ra Arkestra,
DJ Style,
E-Dancer,
Lou Reed & Metallica,
Main Source,
Whodini,
Half Japanese,
The Sonics,
Sad Lovers and Giants,
Lonnie Liston Smith,
the Bar-Kays,
Supertramp,
The Selecter,
Amon Düül II,
Yaz,
Yusef Lateef,
Funky Four + One,
The Invisible,
Fat Boys,
Jerry Gold Smith,
X-101,
Grandmaster Flash,
Alton Ellis,
Jacob Miller,
Röyhkä ja Rättö ja Lehtisalo,
Ronan,
Gang Gang Dance,
Subhumans,
Laurel Aitken,
cv313,
Underground Resistance,
Nils Olav,
Rapeman,
AZ,
Godley & Creme,
Outsiders,
Justin Hinds & The Dominoes,
EPMD,
Bobby Byrd,
Schoolly D,
Marc Almond,
Television Personalities,
Mad Mike,
Faust,
Japan,
The Velvet Underground,
Chrome,
Manfred Mann's Earth Band,
Slave,
The Smoke,
Clear Light,
Saccharine Trust,
Tommy Roe,
Von Mondo, Von Mondo, Von Mondo, Von Mondo.
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.