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 Kazakhstan and from Sao Paulo.
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 1971.
I'm losing my edge.
To all the kids in Glasgow and Seoul.
I'm losing my edge to the art-school Edmonton 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 808 sounds with much patience.
I was there when Donald Fagen 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 John Lydon to the techno kids.
I played it at the Hacienda.
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 Monolake. All the underground hits.
All Rotary Connection tracks. I heard you have a vinyl of every Joyce Sims record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a clarinet and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Donald Byrd record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultravox,
The Seeds,
The Litter,
MC5,
Ultramagnetic MC's,
Negative Approach,
Pylon,
Eurythmics,
Das Ding,
Gong,
Jesper Dahlback,
Cymande,
The Star Department,
The Victims,
The Pretty Things,
Boogie Down Productions,
Shoche,
Can,
Rekid,
Rhythm & Sound,
Crooked Eye,
Throbbing Gristle,
Unrelated Segments,
Youth Brigade,
Bizarre Inc.,
The Moleskins,
Funky Four + One,
The Selecter,
Electric Prunes,
The Peanut Butter Conspiracy,
Urselle,
Siglo XX,
The Martian,
Marc Almond,
Spoonie Gee,
Sun Ra Arkestra,
LL Cool J,
Kayak,
Chrome,
Whodini,
The Skatalites,
Gastr Del Sol,
Lou Christie,
Strawberry Alarm Clock,
Robert Görl,
Althea and Donna,
Rotary Connection,
Sarah Menescal,
Dave Gahan,
Pantytec,
Ken Boothe,
Deutsch Amerikanische Freundschaft,
Mandrill,
Sly & The Family Stone,
Grandmaster Flash and the Furious Five,
Pagans,
A Flock of Seagulls,
Gil Scott-Heron and Jamie xx,
The Dave Clark Five,
Malaria!,
Teenage Jesus and the Jerks,
Stereo Dub,
The Monochrome Set,
Grandmaster Flash,
Charles Mingus, Charles Mingus, Charles Mingus, Charles Mingus.
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.