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 Botswana and from Taipei.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Accra and New York.
I'm losing my edge to the art-school Taipei 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 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 The Slits to the techno kids.
I played it at the Spitz.
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 FM Einheit. All the underground hits.
All Stetsasonic tracks. I heard you have a vinyl of every Scan 7 record on German import.
I heard that you have a white label of every seminal electroclash 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 güiro and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Sixth Finger record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Judy Mowatt,
Model 500,
KRS-One,
Louis and Bebe Barron,
The Seeds,
Nico,
Pantytec,
Delon & Dalcan,
Negative Approach,
Richard Hell and the Voidoids,
Camron Feat. Memphis Bleek And Beenie Seigel,
Joyce Sims,
The Barracudas,
Lightning Bolt,
Manfred Mann's Earth Band,
Red Lorry Yellow Lorry,
The Flesh Eaters,
The Techniques,
The Stooges,
New York Dolls,
Wolf Eyes,
Average White Band,
Fela Kuti,
Pantaleimon,
Colin Newman,
Tom Boy,
Public Image Ltd.,
Lizzy Mercier Descloux,
Tim Buckley,
The Leaves,
Throbbing Gristle,
DJ Style,
Yusef Lateef,
Erykah Badu,
Rahsaan Roland Kirk,
Hot Snakes,
Parry Music,
Sparks,
Bob Dylan,
Ajijia Myrayebe,
The Five Americans,
Clear Light,
The Names,
Deutsch Amerikanische Freundschaft,
Mission of Burma,
Donald Byrd,
Cybotron,
Johnny Osbourne,
Kas Product,
Harpers Bizarre,
De La Soul & Jungle Brothers,
Gong,
Mandrill,
Pussy Galore,
Eli Mardock,
The Raincoats,
The Gun Club,
Cecil Taylor,
Funky Four + One,
Dark Day,
Kings Of Tomorrow,
Sun City Girls,
Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis.
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.