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 Argentina and from Johannesburg.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Cairo and Edmonton.
I'm losing my edge to the art-school Edmonton 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 synthesizer sounds with much patience.
I was there when Nile Rodgers 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 Stockholm Monsters to the techno kids.
I played it at the 40 Watt.
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 Khruangbin. All the underground hits.
All The Royal Family And The Poor tracks. I heard you have a vinyl of every FM Einheit record on German import.
I heard that you have a white label of every seminal jazz 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 808 and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Ajijia Myrayebe record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultra Naté,
Kool G Rap & DJ Polo,
DJ Sneak,
Circle Jerks,
Anakelly,
Funkadelic,
Peter Gordon & Love of Life Orchestra,
Deutsch Amerikanische Freundschaft,
New Age Steppers,
Black Sheep,
Roger Hodgson,
Interpol,
The Slackers,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Gary Puckett & The Union Gap,
The Royal Family And The Poor,
Mantronix,
Visage,
The Chocolate Watch Band,
KRS-One,
Rotary Connection,
Sandy B,
Aural Exciters,
Röyhkä ja Rättö ja Lehtisalo,
Dark Day,
Echo & the Bunnymen,
Be Bop Deluxe,
Tres Demented,
Public Image Ltd.,
The Buckinghams,
The Angels of Light,
Bluetip,
Peter and Kerry,
Art Ensemble Of Chicago,
EPMD,
Jandek,
Popol Vuh,
Kenny Larkin,
Buzzcocks,
Desert Stars,
The Techniques,
Mission of Burma,
Shoche,
Amon Düül,
David Bowie,
Stetsasonic,
China Crisis,
Harry Pussy,
Excepter,
Lonnie Liston Smith,
The Evens,
Wire,
Infiniti,
The Searchers,
The Mojo Men,
Porter Ricks,
Fat Boys,
Make Up,
Rapeman,
June Days,
Althea and Donna, Althea and Donna, Althea and Donna, Althea and Donna.
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.