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 United States and from Lille.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Johannesburg and Copenhagen.
I'm losing my edge to the art-school Salvador 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the clarinet sounds with much patience.
I was there when Lou Reed 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 Lizzy Mercier Descloux to the punk kids.
I played it at Trash.
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 June Days. All the underground hits.
All Deutsch Amerikanische Freundschaft tracks. I heard you have a vinyl of every The Misunderstood 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 '80s.
I hear you're buying a snare and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a OOIOO record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Richard Hell and the Voidoids,
Ice-T,
Maurizio,
Visage,
Delon & Dalcan,
Nick Fraelich,
Tomorrow,
The Red Krayola,
Yellowson,
The Gladiators,
Vladislav Delay,
Electric Prunes,
Man Parrish,
Crime,
Roxette,
Brothers Johnson,
Rufus Thomas,
Tears for Fears,
Pete Rock & C.L. Smooth,
LL Cool J,
Larry & the Blue Notes,
John Coltrane,
Harmonia,
The Smoke,
Masters at Work,
Cabaret Voltaire,
Gil Scott-Heron and Jamie xx,
The Walker Brothers,
Sound Behaviour,
Mantronix,
The Toasters,
U.S. Maple,
the Soft Cell,
The Music Machine,
Terrestrial Tones,
The Young Rascals,
Oblivians,
The Techniques,
Fatback Band,
Circle Jerks,
Louis and Bebe Barron,
Justin Hinds & The Dominoes,
Bobby Byrd,
Teenage Jesus and the Jerks,
Mary Jane Girls,
The Selecter,
Blake Baxter,
48th St. Collective,
John Holt,
Fela Kuti,
Eve St. Jones,
Freddie Wadling,
Pole,
Dave Gahan,
FM Einheit,
The Knickerbockers,
The Leaves,
Quadrant,
Livin' Joy,
Von Mondo,
Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic.
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.