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 Mali and from Jakarta.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Toronto and Stockholm.
I'm losing my edge to the art-school Shanghai 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 chamberlin 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 Bush Tetras to the disco kids.
I played it at the Troubador.
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 Guru Guru. All the underground hits.
All Arthur Verocai tracks. I heard you have a vinyl of every Drexciya record on German import.
I heard that you have a white label of every seminal techno 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 güiro and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Marmalade record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marcia Griffiths,
Scan 7,
Avey Tare's Slasher Flicks,
Tubeway Army,
Terror Squad Feat. Camron,
Delon & Dalcan,
The Fugs,
Buzzcocks,
Donny Hathaway,
Notorious Big And Bone Thugs,
Laurel Aitken,
FM Einheit,
La Düsseldorf,
Scott Walker,
Negative Approach,
the Germs,
David Bowie,
Bush Tetras,
Stetsasonic,
Magazine,
Das Ding,
The Victims,
Cluster,
Saccharine Trust,
This Heat,
Al Stewart,
The Mojo Men,
The Shadows of Knight,
Thinking Fellers Union Local 282,
Qualms,
Pylon,
The Red Krayola,
Fear,
Erasure,
Cheater Slicks,
Tom Boy,
It's A Beautiful Day,
The Knickerbockers,
Skarface,
Flipper,
Mary Jane Girls,
Brand Nubian,
R.M.O.,
Gastr Del Sol,
Bootsy's Rubber Band,
Cabaret Voltaire,
Bauhaus,
Orchestral Manoeuvres in the Dark,
Wire,
PIL,
Barbara Tucker,
Pantaleimon,
Jerry Gold Smith,
CMW,
Traffic Nightmare,
Pulsallama,
The Music Machine,
Flamin' Groovies,
MDC,
Hot Snakes,
The Dave Clark Five,
Steve Hackett, Steve Hackett, Steve Hackett, Steve Hackett.
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.