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 Bangladesh and from Salvador.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Mexico City and Portland.
I'm losing my edge to the art-school Sao Paulo 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 chamberlin sounds with much patience.
I was there when Donald Fagen 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 Lafayette Afro Rock Band to the rap 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 The Residents. All the underground hits.
All Oneida tracks. I heard you have a vinyl of every Wally Richardson record on German import.
I heard that you have a white label of every seminal rock 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 linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Orchestral Manoeuvres in the Dark record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Modern Lovers,
Grandmaster Flash,
U.S. Maple,
The Dirtbombs,
X-Ray Spex,
Zero Boys,
Barry Ungar,
Rowland S Howard / Lydia Lunch,
Young Marble Giants,
The Dead C,
Pylon,
Kerrie Biddell,
Eurythmics,
Rhythm & Sound,
Juan Atkins,
Section 25,
It's A Beautiful Day,
Quando Quango,
The Trojans,
Soft Machine,
Eddi Front,
the Human League,
Funkadelic,
The Victims,
Sound Behaviour,
Oblivians,
Letta Mbulu,
Boredoms,
Iggy Pop,
Slave,
The Move,
Rapeman,
Funky Four + One,
Au Pairs,
Dr. Dre and Snoop Doggy Dog,
Suicide,
Anakelly,
X-102,
Siouxsie and the Banshees,
The Stooges,
Agitation Free,
Bush Tetras,
Laurel Aitken,
Roxy Music,
D'Angelo,
Nick Cave & The Bad Seeds,
Barrington Levy,
Sun Ra,
Glambeats Corp.,
The Smoke,
Dave Gahan,
Spandau Ballet,
The Alarm Clocks,
Bobbi Humphrey,
Mary Jane Girls,
Surgeon,
Hasil Adkins,
Peter & Gordon,
Gil Scott Heron,
The Sonics,
Jesper Dahlback,
The Standells,
Agent Orange, Agent Orange, Agent Orange, Agent Orange.
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.