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 Cape Verde and from Bremen.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Spokane and Taipei.
I'm losing my edge to the art-school Manchester 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 oboe 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 Tommy Roe to the techno 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 Tres Demented. All the underground hits.
All New Age Steppers tracks. I heard you have a vinyl of every Slick Rick 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 '60s cut and another box set from the '70s.
I hear you're buying a snare and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a E-Dancer record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott Heron,
Gang Starr,
FM Einheit,
Crooked Eye,
Crash Course in Science,
The Trojans,
H. Thieme,
Lower 48,
The Gun Club,
Camouflage,
Deepchord,
Quantec,
Aural Exciters,
Boogie Down Productions,
Lou Reed & Metallica,
James White and The Blacks,
Lou Reed & John Cale,
Dawn Penn,
London Community Gospel Choir,
Fear,
The Music Machine,
Idris Muhammad,
Sun Ra,
Anakelly,
Stereo Dub,
Traffic Nightmare,
Stockholm Monsters,
Soul Sonic Force,
B.T. Express,
Oneida,
Soft Cell,
Ralphi Rosario,
Unrelated Segments,
Kauko Röyhkä ja Narttu,
The Pop Group,
The Men They Couldn't Hang,
Pantytec,
Cluster,
Flash Fearless,
Jerry Gold Smith,
the Normal,
Man Eating Sloth,
Deakin,
Gabor Szabo,
Visionaries,LMNO, T- Love & Iriscience,
Infiniti,
These Immortal Souls,
The Durutti Column,
Throbbing Gristle,
Japan,
Magazine,
Deadbeat,
Sister Nancy,
Piero Umiliani,
Warren Ellis,
Vladislav Delay,
Flamin' Groovies,
Kaleidoscope,
Cal Tjader,
Black Pus,
Massinfluence,
Nirvana, Nirvana, Nirvana, Nirvana.
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.