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 Micronesia and from Copenhagen.
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 1974.
I'm losing my edge.
To all the kids in Hong Kong and London.
I'm losing my edge to the art-school Woodstock 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 808 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 Marine Girls to the funk 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 Vaughan Mason & Crew. All the underground hits.
All Jacques Brel tracks. I heard you have a vinyl of every Panda Bear 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 '70s cut and another box set from the '70s.
I hear you're buying a spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Osbourne record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fortunes,
Basic Channel,
Brothers Johnson,
Rotary Connection,
Piero Umiliani,
Derrick Morgan,
Al Stewart,
Lou Reed & John Cale,
AZ,
Index,
Popol Vuh,
The Techniques,
Gang Gang Dance,
Laurel Aitken,
Con Funk Shun,
Radiohead,
DNA,
The Black Dice,
Peter & Gordon,
Barclay James Harvest,
Marshall Jefferson,
Cheater Slicks,
Little Man,
Organ,
The Walker Brothers,
Blake Baxter,
OOIOO,
The Gun Club,
Crash Course in Science,
Notorious Big And Bone Thugs,
John Coltrane,
Crispian St. Peters,
Ten City,
Crooked Eye,
Magazine,
The Names,
Porter Ricks,
Rahsaan Roland Kirk,
Marc Almond,
Thinking Fellers Union Local 282,
The Shadows of Knight,
Howard Jones,
The Selecter,
Harpers Bizarre,
The Happenings,
The Slits,
X-101,
X-Ray Spex,
Brass Construction,
Delon & Dalcan,
Surgeon,
Fort Wilson Riot,
Marcia Griffiths,
Arab on Radar,
The Doobie Brothers,
Ralphi Rosario,
Idris Muhammad,
Inner City,
Sun City Girls,
UT,
Patti Smith,
Swell Maps,
Minny Pops, Minny Pops, Minny Pops, Minny Pops.
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.