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 Madagascar and from Johannesburg.
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 Mexico City and Columbus.
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 harpsichord sounds with much patience.
I was there when Holger Czukay 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 Kurtis Blow to the dance kids.
I played it at the Crocodile.
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 Max Romeo. All the underground hits.
All Connie Case tracks. I heard you have a vinyl of every Ultravox 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 '50s cut and another box set from the '70s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a X-Ray Spex record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cure,
In Retrospect,
Amazonics,
Boz Scaggs,
Liaisons Dangereuses,
The Blues Magoos,
The Blackbyrds,
Porter Ricks,
Nas,
Can,
L. Decosne,
Roxy Music,
Pharaoh Sanders and the Fire Engines,
Gastr Del Sol,
Thinking Fellers Union Local 282,
Derrick Morgan,
New York Dolls,
Max Romeo,
Public Image Ltd.,
Lou Christie,
Sarah Menescal,
Desert Stars,
Outsiders,
Jesper Dahlbäck,
Bush Tetras,
June Days,
Nick Cave & The Bad Seeds,
Monolake,
The Star Department,
Oppenheimer Analysis,
Henry Cow,
Todd Terry,
Super Lover Cee & Casanova Rud,
Rhythim Is Rhythim,
Saccharine Trust,
Barclay James Harvest,
Ornette Coleman,
The Trojans,
Aswad,
Drexciya,
Pere Ubu,
The Litter,
Soft Machine,
PIL,
Harry Pussy,
the Germs,
Kayak,
Steve Hackett,
Rod Modell,
Sound Behaviour,
The Stooges,
Ituana,
Reagan Youth,
Magazine,
The Moody Blues,
Orchestral Manoeuvres in the Dark,
World's Most,
Maleditus Sound,
Arab on Radar,
New Order,
Dark Day,
Fela Kuti, Fela Kuti, Fela Kuti, Fela Kuti.
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.