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 Namibia and from Johannesburg.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Mumbai and Copenhagen.
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 theremin sounds with much patience.
I was there when Michael McDonald 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 Dorothy Ashby to the jazz kids.
I played it at the 40 Watt.
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 Yellowson. All the underground hits.
All Alison Limerick tracks. I heard you have a vinyl of every Al Stewart record on German import.
I heard that you have a white label of every seminal rock 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 marimba and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Motorama record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric B and Rakim,
Young Marble Giants,
Ten City,
The Doobie Brothers,
Unrelated Segments,
Nation of Ulysses,
Vladislav Delay,
Scion,
Juan Atkins,
Howard Jones,
Drive Like Jehu,
Adolescents,
Japan,
Crispy Ambulance,
Pussy Galore,
Das Ding,
The Golliwogs,
Ronan,
Scott Walker + Sunn O))),
Nico,
Gichy Dan,
Darondo,
Au Pairs,
The Seeds,
Desert Stars,
Black Sheep,
John Holt,
Silicon Teens,
Todd Rundgren,
Michelle Simonal,
Boz Scaggs,
Faraquet,
the Germs,
Thee Headcoats,
Traffic Nightmare,
Arthur Verocai,
Bizarre Inc.,
The Red Krayola,
Liliput,
Bobby Womack,
Skarface,
Stereo Dub,
New Age Steppers,
Mandrill,
The Angels of Light,
Morten Harket,
Nik Kershaw,
Angels of Light & Akron/Family,
Graham Central Station,
Marvin Gaye,
Nick Fraelich,
Interpol,
Gastr Del Sol,
Sun City Girls,
Ludus,
Gil Scott-Heron and Jamie xx,
Lungfish,
ABC,
Oppenheimer Analysis,
Terrestrial Tones,
Neu!,
The Electric Prunes,
Soft Machine,
Dorothy Ashby, Dorothy Ashby, Dorothy Ashby, Dorothy Ashby.
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.