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 Madagascar and from Edmonton.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Salvador and Edmonton.
I'm losing my edge to the art-school Columbus 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 spring reverb sounds with much patience.
I was there when Michael McDonald 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 Peter and Kerry to the rock 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 Gregory Isaacs. All the underground hits.
All Smog tracks. I heard you have a vinyl of every Sad Lovers and Giants 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 '60s cut and another box set from the '70s.
I hear you're buying an organ and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Art Ensemble Of Chicago record.
I hear that you and your band have sold your rhodes and bought a guitar.
I hear that you and your band have sold your guitar and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Radio Birdman,
The Trojans,
Glenn Branca,
Pantaleimon,
Kango’s Stein Massive,
The Names,
H. Thieme,
Sight & Sound,
Dawn Penn,
Monolake,
Camron Feat. Memphis Bleek And Beenie Seigel,
Strawberry Alarm Clock,
Gong,
Cluster,
The Pretty Things,
Siouxsie and the Banshees,
Man Parrish,
Q65,
Mad Mike,
Morten Harket,
K-Klass,
Yellowson,
Metal Thangz,
The Gladiators,
Chris & Cosey,
Byron Stingily,
Sexual Harrassment,
Deutsch Amerikanische Freundschaft,
The Buckinghams,
Bad Manners,
Ornette Coleman,
Deadbeat,
Avey Tare,
The Cosmic Jokers,
The Music Machine,
John Foxx,
John Lydon,
The Dead C,
Tears for Fears,
Soft Cell,
The Index,
Alton Ellis,
Cameo,
AZ,
DJ Sneak,
Pere Ubu,
Bang On A Can,
Marshall Jefferson,
Justin Hinds & The Dominoes,
Bobby Byrd,
Fela Kuti,
Beasts of Bourbon,
The Standells,
Make Up,
Neu!,
Subhumans,
Blancmange,
Cymande,
June Days,
The Real Kids,
Susan Cadogan,
Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson.
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.