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 Nicaragua and from Seoul.
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 1977.
I'm losing my edge.
To all the kids in Hong Kong and Johannesburg.
I'm losing my edge to the art-school Lille 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 arpeggiator sounds with much patience.
I was there when Robert Palmer 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 Toasters to the grunge kids.
I played it at the Astoria.
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 Sun Ra Arkestra. All the underground hits.
All Gregory Isaacs tracks. I heard you have a vinyl of every The Sound record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Vainqueur record.
I hear that you and your band have sold your organ and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dark Day,
The Knickerbockers,
Sparks,
Stetsasonic,
Charles Mingus,
The Motions,
The Alarm Clocks,
Todd Rundgren,
Minny Pops,
Strawberry Alarm Clock,
Harry Pussy,
The Residents,
Make Up,
Ultra Naté,
Alton Ellis,
Ituana,
Stereo Dub,
The Vogues,
Aaron Thompson,
Porter Ricks,
Man Eating Sloth,
The Real Kids,
Cameo,
JFA,
Siouxsie and the Banshees,
CMW,
Public Image Ltd.,
Bang on a Can All-Stars,
The Gun Club,
The Raincoats,
Dorothy Ashby,
Yazoo,
Amon Düül II,
Cheater Slicks,
the Bar-Kays,
The Pretty Things,
Lee Hazlewood,
The Standells,
James Chance & The Contortions,
Altered Images,
Kerrie Biddell,
The Men They Couldn't Hang,
Heavy D & The Boyz,
Adolescents,
The Sound,
David Axelrod,
Barry Ungar,
The Saints,
Buzzcocks,
The Beau Brummels,
Marc Romboy vs. Booka Shade,
Marmalade,
A Certain Ratio,
Reuben Wilson,
Warsaw,
David Bowie,
Yellowson,
The Stooges,
Black Flag,
Wire,
The Modern Lovers,
Terror Squad Feat. Camron,
Derrick May,
the Soft Cell, the Soft Cell, the Soft Cell, the Soft Cell.
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.