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 Chad and from Calgary.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Stockholm and Johannesburg.
I'm losing my edge to the art-school Madrid 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the linndrum 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 Fat Boys to the techno 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 D'Angelo. All the underground hits.
All Section 25 tracks. I heard you have a vinyl of every Stereo Dub record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman 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?
Talk Talk,
Sällskapet,
Harry Pussy,
Alphaville,
Dual Sessions,
Echo & the Bunnymen,
The Red Krayola,
Siglo XX,
The Standells,
Kaleidoscope,
The Kinks,
Girls At Our Best!,
Dennis Brown,
Niagra,
Lizzy Mercier Descloux,
The Fuzztones,
Suicide,
Adolescents,
Neu!,
Los Fastidios,
Little Man,
Bizarre Inc.,
World's Most,
Davy DMX,
The Birthday Party,
Blancmange,
The Peanut Butter Conspiracy,
Guru Guru,
Soulsonic Force,
Yusef Lateef,
Bad Manners,
Arcadia,
Jeff Mills,
X-101,
The Jesus and Mary Chain,
The Cure,
Ash Ra Tempel,
La Düsseldorf,
Skaos,
The Techniques,
Magma,
Bill Near,
Easy Going,
Dorothy Ashby,
Robert Wyatt,
Nik Kershaw,
Ornette Coleman,
Fugazi,
Captain Beefheart & His Magic Band,
Rotary Connection,
The Men They Couldn't Hang,
the Swans,
Ken Boothe,
Piero Umiliani,
ABC,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Mark Hollis,
Gary Puckett & The Union Gap,
Eddi Front,
Warsaw,
Shoche, Shoche, Shoche, Shoche.
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.