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 Guinea and from Edmonton.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Delhi and Accra.
I'm losing my edge to the art-school Mumbai 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 spring reverb 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 Cecil Taylor to the disco 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 Hasil Adkins. All the underground hits.
All Don Cherry tracks. I heard you have a vinyl of every Flamin' Groovies 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 '50s cut and another box set from the '70s.
I hear you're buying a sitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Desert Stars record.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stereo Dub,
Hashim,
James Chance & The Contortions,
10cc,
Dual Sessions,
Bluetip,
Grauzone,
The Monochrome Set,
Urselle,
Underground Resistance,
Fat Boys,
Dark Day,
Susan Cadogan,
Hot Snakes,
Fifty Foot Hose,
Siglo XX,
Unwound,
Black Flag,
The Monks,
Anakelly,
Popol Vuh,
Barbara Tucker,
The Last Poets,
Little Man,
Al Stewart,
Stiv Bators,
Boz Scaggs,
Warsaw,
The Leaves,
The Young Rascals,
Wasted Youth,
Scrapy,
Basic Channel,
Skaos,
the Bar-Kays,
Country Teasers,
Sunsets and Hearts,
Schoolly D,
Japan,
Panda Bear,
Easy Going,
The Doors,
the Germs,
Steve Hackett,
The Dave Clark Five,
The Mummies,
Brand Nubian,
the Association,
Jesper Dahlbäck,
Kevin Saunderson,
Niagra,
Bootsy Collins,
World's Most,
The Gladiators,
Q and Not U,
The Moody Blues,
Blossom Toes,
Amon Düül,
The Alarm Clocks,
Joensuu 1685,
The Fortunes,
The Smoke,
Organ,
Technova, Technova, Technova, Technova.
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.