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 Jamaica and from Mexico City.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Tehran and Accra.
I'm losing my edge to the art-school Mumbai 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 güiro sounds with much patience.
I was there when Robert Palmer 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 Names to the punk kids.
I played it at the Astoria.
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 kango's stein massive. All the underground hits.
All Kenny Larkin tracks. I heard you have a vinyl of every Derrick Morgan 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 '70s cut and another box set from the '70s.
I hear you're buying a clarinet and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Crooked Eye record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
E-Dancer,
Lee Hazlewood,
Eli Mardock,
Johnny Osbourne,
Chrome,
Patti Smith,
Shuggie Otis,
David Axelrod,
Fort Wilson Riot,
Orchestral Manoeuvres in the Dark,
Von Mondo,
Groovy Waters,
MC5,
Los Fastidios,
Cal Tjader,
Mantronix,
Alison Limerick,
Ken Boothe,
Fat Boys,
Scott Walker,
Hasil Adkins,
Gang Green,
Dual Sessions,
Yellowson,
Underground Resistance,
Yazoo,
Dennis Brown,
Aural Exciters,
Inner City,
Thompson Twins,
Tim Buckley,
Excepter,
Wighnomy Brothers & Robag Wruhme,
The Birthday Party,
Siglo XX,
Kaleidoscope,
Vainqueur,
Alton Ellis,
Jerry Gold Smith,
Flamin' Groovies,
Franke,
Model 500,
The Durutti Column,
Throbbing Gristle,
Max Romeo,
Nirvana,
Bill Near,
Roxy Music,
Girls At Our Best!,
New York Dolls,
Yaz,
Godley & Creme,
World's Most,
Boredoms,
The Angels of Light,
Motorama,
Skarface,
Nik Kershaw,
Zero Boys,
Blancmange, Blancmange, Blancmange, Blancmange.
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.