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 Sudan and from Halifax.
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 1973.
I'm losing my edge.
To all the kids in Delhi and Milan.
I'm losing my edge to the art-school Milan 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 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 Flash Fearless to the techno kids.
I played it at the Hacienda.
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 Pharaoh Sanders and the Fire Engines. All the underground hits.
All Peter & Gordon tracks. I heard you have a vinyl of every Girls At Our Best! record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a marimba and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Ohio Players record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bang On A Can,
Maleditus Sound,
Derrick May,
Vainqueur,
PIL,
Lonnie Liston Smith,
Lungfish,
The Seeds,
Pet Shop Boys,
Angels of Light & Akron/Family,
Al Stewart,
Television Personalities,
48th St. Collective,
Jeff Lynne,
Parry Music,
Livin' Joy,
Stockholm Monsters,
Ten City,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Juan Atkins,
Gabor Szabo,
Ken Boothe,
Wolf Eyes,
Kerrie Biddell,
Crime,
Ludus,
Stiv Bators,
Henry Cow,
Rahsaan Roland Kirk,
Crooked Eye,
Mark Hollis,
Nils Olav,
Chris Corsano,
Thompson Twins,
Dennis Brown,
The Men They Couldn't Hang,
Fela Kuti,
Idris Muhammad,
Brand Nubian,
The Cramps,
the Bar-Kays,
The Black Dice,
a-ha,
The Peanut Butter Conspiracy,
Pere Ubu,
The New Christs,
Eddi Front,
The Zeros,
Half Japanese,
Lower 48,
Deadbeat,
Flash Fearless,
Fat Boys,
Jacob Miller,
Kenny Larkin,
Peter and Kerry,
Slave,
Cluster,
The Standells,
Robert Hood,
Matthew Bourne,
Donny Hathaway,
Goldenarms,
The Flesh Eaters,
Scratch Acid, Scratch Acid, Scratch Acid, Scratch Acid.
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.