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 Spain and from Madrid.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Mumbai and Jakarta.
I'm losing my edge to the art-school Tokyo 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 808 sounds with much patience.
I was there when Tom Verlaine 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 Inner City to the dance kids.
I played it at the Roxy.
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 Gang Starr. All the underground hits.
All Derrick Morgan tracks. I heard you have a vinyl of every The Grass Roots record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Lonnie Liston Smith record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tom Boy,
Boz Scaggs,
the Soft Cell,
Soft Cell,
Average White Band,
Magazine,
Traffic Nightmare,
The Dead C,
The Smiths,
Sound Behaviour,
Funky Four + One,
Rhythm & Sound,
Y Pants,
Barclay James Harvest,
Idris Muhammad,
The Fortunes,
X-Ray Spex,
the Bar-Kays,
Pole,
Bang On A Can,
The Sonics,
Maleditus Sound,
Section 25,
Joy Division,
10cc,
Lungfish,
Eurythmics,
Danielle Patucci,
Lindisfarne,
Hashim,
Los Fastidios,
Deepchord,
The Litter,
Alison Limerick,
Ponytail,
Connie Case,
Lakeside,
Avey Tare's Slasher Flicks,
Avey Tare,
Deutsch Amerikanische Freundschaft,
Vaughan Mason & Crew,
Animal Collective,
Camron Feat. Memphis Bleek And Beenie Seigel,
Ohio Players,
Angry Samoans,
Tres Demented,
The Cure,
The Slackers,
Orchestral Manoeuvres in the Dark,
The American Breed,
Lafayette Afro Rock Band,
Jesper Dahlback,
Shoche,
Stiv Bators,
Lou Reed & John Cale,
the Germs,
Chris Corsano,
Dave Gahan,
La Düsseldorf,
Lizzy Mercier Descloux,
Audionom,
Slick Rick,
Adolescents,
Jacob Miller, Jacob Miller, Jacob Miller, Jacob Miller.
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.