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 Bahamas and from Toronto.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Bremen and Madrid.
I'm losing my edge to the art-school Seoul 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 linndrum sounds with much patience.
I was there when Robert Palmer 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 Vaughan Mason & Crew to the disco 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 The Fire Engines. All the underground hits.
All Althea and Donna tracks. I heard you have a vinyl of every Ajijia Myrayebe record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an oboe and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Das Ding record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fire Engines,
World's Most,
Aaron Thompson,
Larry & the Blue Notes,
Lee Hazlewood,
Rod Modell,
Spandau Ballet,
Urselle,
Country Teasers,
Malaria!,
Sam Rivers,
Can,
Al Stewart,
Danielle Patucci,
Intrusion,
The Associates,
Throbbing Gristle,
Peter & Gordon,
Camron Feat. Jay Z And Juelz,
Stiv Bators,
Rhythm & Sound,
Popol Vuh,
In Retrospect,
The Beau Brummels,
Joe Smooth,
Letta Mbulu,
The Offenders,
Glenn Branca,
Surgeon,
Gil Scott Heron,
These Immortal Souls,
Hashim,
Boogie Down Productions,
Sonic Youth,
Adolescents,
Model 500,
De La Soul & Jungle Brothers,
June of 44,
Reuben Wilson,
Alison Limerick,
Yellowson,
Richard Hell and the Voidoids,
John Holt,
Super Lover Cee & Casanova Rud,
Pierre Henry,
Tres Demented,
Pagans,
Notorious Big And Bone Thugs,
Quando Quango,
PIL,
Mandrill,
Nico,
DJ Sneak,
The Divine Comedy,
Pylon,
Excepter,
The Doors,
The Flesh Eaters,
Basic Channel,
Louis and Bebe Barron,
Glambeats Corp.,
Nation of Ulysses,
Alphaville, Alphaville, Alphaville, Alphaville.
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.