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 Thailand 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 1961 to 1972.
I'm losing my edge.
To all the kids in Beijing and Edmonton.
I'm losing my edge to the art-school Johannesburg 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 synthesizer 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 the Soft Cell to the jazz 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 Skarface. All the underground hits.
All the Bar-Kays tracks. I heard you have a vinyl of every Loose Ends record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a clarinet and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Sound record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord 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?
Marmalade,
Nas,
Robert Wyatt,
Peter Gordon & Love of Life Orchestra,
Kool G Rap & DJ Polo,
Ajijia Myrayebe,
Louis and Bebe Barron,
Wally Richardson,
Kurtis Blow,
Bronski Beat,
Con Funk Shun,
Pulsallama,
Scratch Acid,
Funky Four + One,
The Kinks,
Faraquet,
Joensuu 1685,
48th St. Collective,
The Skatalites,
Nils Olav,
Radio Birdman,
Buzzcocks,
Clear Light,
Black Bananas,
De La Soul & Jungle Brothers,
Yaz,
Derrick May,
Delta 5,
Stereo Dub,
E-Dancer,
It's A Beautiful Day,
The Trojans,
Lee Hazlewood,
Drexciya,
EPMD,
Barrington Levy,
Michelle Simonal,
Section 25,
Das Ding,
Max Romeo,
MDC,
The Neon Judgement,
Index,
Tears for Fears,
Ronan,
ABBA,
Camouflage,
Agent Orange,
Monks,
Henry Cow,
Selector Dub Narcotic,
Tommy Roe,
Matthew Bourne,
John Cale,
Jeru the Damaja,
Ultravox,
Mars,
David McCallum,
kango's stein massive,
Second Layer,
Maurizio,
Pole,
Rahsaan Roland Kirk, Rahsaan Roland Kirk, Rahsaan Roland Kirk, Rahsaan Roland Kirk.
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.