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 Korea North 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 1963 to 1976.
I'm losing my edge.
To all the kids in New York and Bremen.
I'm losing my edge to the art-school London 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 sitar 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 Section 25 to the disco kids.
I played it at Trash.
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 Roxy Music. All the underground hits.
All Country Teasers tracks. I heard you have a vinyl of every Pantytec 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 theremin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Darondo record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Pretty Things,
Oneida,
La Düsseldorf,
Television,
Orchestral Manoeuvres in the Dark,
Sunsets and Hearts,
T. Rex,
Shuggie Otis,
Mo-Dettes,
Wolf Eyes,
The Fortunes,
Lonnie Liston Smith,
Graham Central Station,
Jeru the Damaja,
Lakeside,
Buzzcocks,
Tropical Tobacco,
Joyce Sims,
Bobby Sherman,
Throbbing Gristle,
Jandek,
Andrew Ashong & Theo Parrish,
The American Breed,
R.M.O.,
Echospace,
B.T. Express,
Colin Newman,
The Chocolate Watch Band,
Saccharine Trust,
Heaven 17,
Ohio Players,
Matthew Halsall,
Flamin' Groovies,
Teenage Jesus and the Jerks,
Brass Construction,
Theoretical Girls,
The Saints,
Dawn Penn,
Bang on a Can All-Stars,
Country Teasers,
Scientists,
Peter & Gordon,
Skaos,
Stockholm Monsters,
Carl Craig,
Make Up,
Main Source,
Terrestrial Tones,
Joe Smooth,
The Flesh Eaters,
Barbara Tucker,
The Young Rascals,
Jawbox,
Freddie Wadling,
the Normal,
June Days,
Alphaville,
The Knickerbockers,
Alton Ellis,
Skarface, Skarface, Skarface, Skarface.
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.