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 Seychelles and from Glasgow.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1974.
I'm losing my edge.
To all the kids in Lille and Madrid.
I'm losing my edge to the art-school Copenhagen 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 güiro sounds with much patience.
I was there when Lou Reed 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 Girls At Our Best! to the electroclash kids.
I played it at the Roxy.
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 This Heat. All the underground hits.
All Bauhaus tracks. I heard you have a vinyl of every Groovy Waters record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Camron Feat. Memphis Bleek And Beenie Seigel record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Trumans Water,
Excepter,
Wire,
Richard Hell and the Voidoids,
Rapeman,
Lee Hazlewood,
Grauzone,
Lyres,
Michelle Simonal,
Deepchord,
Television,
Country Joe & The Fish,
Avey Tare & Kría Brekkan,
Andrew Ashong & Theo Parrish,
Livin' Joy,
Hashim,
Amon Düül,
Fad Gadget,
Motorama,
Los Fastidios,
The Toasters,
Marcia Griffiths,
Kerrie Biddell,
Subhumans,
ABC,
Chris Corsano,
Alison Limerick,
Minutemen,
The Knickerbockers,
the Soft Cell,
Tres Demented,
Thompson Twins,
Funky Four + One,
Lindisfarne,
Harmonia,
the Association,
Fear,
Pole,
X-101,
Brass Construction,
The Gun Club,
Porter Ricks,
Model 500,
Al Stewart,
Juan Atkins,
Groovy Waters,
Rotary Connection,
The Move,
Kevin Saunderson,
Unrelated Segments,
Jeru the Damaja,
Blake Baxter,
Joe Finger,
Khruangbin,
Strawberry Alarm Clock,
Notorious BIG live in Amsterdam,
The Blackbyrds,
Black Pus,
The Music Machine,
Interpol,
Boogie Down Productions,
Roxy Music,
Lafayette Afro Rock Band,
Fat Boys, Fat Boys, Fat Boys, Fat Boys.
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.