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 Tuvalu and from Lagos.
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 1975.
I'm losing my edge.
To all the kids in Sao Paulo and Lagos.
I'm losing my edge to the art-school Mexico City 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 snare sounds with much patience.
I was there when Tom Verlaine 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 Aaron Thompson to the rap kids.
I played it at the Spitz.
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 Ken Boothe. All the underground hits.
All Ash Ra Tempel tracks. I heard you have a vinyl of every Pantaleimon record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a rhodes and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Duran Duran record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crime,
Blancmange,
The Mummies,
Lou Reed & John Cale,
Goldenarms,
Dorothy Ashby,
The Fortunes,
Grandmaster Flash,
Malaria!,
Cluster,
Sly & The Family Stone,
The Buckinghams,
the Fania All-Stars,
Eric Dolphy,
Fat Boys,
Marshall Jefferson,
Basic Channel,
Tubeway Army,
ABBA,
Man Parrish,
48th St. Collective,
Kerri Chandler,
Infiniti,
Kevin Saunderson,
Lower 48,
Alice Coltrane,
Crispian St. Peters,
Eden Ahbez,
James Chance & The Contortions,
The Zeros,
Traffic Nightmare,
Sandy B,
Fifty Foot Hose,
Notorious Big And Bone Thugs,
Avey Tare's Slasher Flicks,
Jeff Mills,
Subhumans,
Ludus,
Negative Approach,
Black Sheep,
Alton Ellis,
Essential Logic,
The Dead C,
Bauhaus,
Notorious BIG live in Amsterdam,
The Trojans,
Scan 7,
Piero Umiliani,
Terrestrial Tones,
Quantec,
Jacob Miller,
The Royal Family And The Poor,
Magma,
Scrapy,
The Fuzztones,
Animal Collective,
Black Bananas,
Blake Baxter,
Icehouse,
A Flock of Seagulls,
Kerrie Biddell, Kerrie Biddell, Kerrie Biddell, Kerrie Biddell.
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.