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 Kuwait and from Woodstock.
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 1969 to 1975.
I'm losing my edge.
To all the kids in New York and Sao Paulo.
I'm losing my edge to the art-school Portland 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 organ sounds with much patience.
I was there when Holger Czukay 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 Toni Rubio to the grunge kids.
I played it at the 40 Watt.
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 Velvet Underground. All the underground hits.
All Larry & the Blue Notes tracks. I heard you have a vinyl of every Grandmaster Flash record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a 808 and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a T. Rex record.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
It's A Beautiful Day,
Absolute Body Control,
Robert Görl,
In Retrospect,
The Barracudas,
These Immortal Souls,
Scratch Acid,
The Golliwogs,
a-ha,
Blossom Toes,
John Foxx,
Alphaville,
PIL,
Babytalk,
The United States of America,
The Alarm Clocks,
Vladislav Delay,
Nik Kershaw,
The Real Kids,
Bizarre Inc.,
The Five Americans,
Shoche,
Glambeats Corp.,
Joey Negro,
Ituana,
Cabaret Voltaire,
Gil Scott Heron,
Freddie Wadling,
Jeff Mills,
Hashim,
Sandy B,
The Evens,
E-Dancer,
The Sound,
Henry Cow,
Nirvana,
Jacob Miller,
KRS-One,
Shuggie Otis,
Sad Lovers and Giants,
Supertramp,
Bobby Byrd,
Tropical Tobacco,
Reuben Wilson,
The Litter,
Gang Starr,
Boogie Down Productions,
The Cramps,
Mark Hollis,
Janne Schatter,
Rufus Thomas,
The Doors,
The Victims,
Funky Four + One,
The Zeros,
Nils Olav,
Heaven 17,
Grauzone,
Desert Stars,
The Jesus and Mary Chain,
Frankie Knuckles,
Traffic Nightmare,
Marine Girls,
Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark.
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.