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 Georgia and from Mexico City.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1970.
I'm losing my edge.
To all the kids in New York and Bologna.
I'm losing my edge to the art-school Madrid 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 sitar sounds with much patience.
I was there when Tom Verlaine 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 Beau Brummels to the disco kids.
I played it at the Spitz.
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 Gang Gang Dance. All the underground hits.
All Terry Callier tracks. I heard you have a vinyl of every Bronski Beat 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 '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Harry Pussy record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kauko Röyhkä ja Narttu,
Laurel Aitken,
Peter & Gordon,
The Grass Roots,
The Dave Clark Five,
Pere Ubu,
Whodini,
Graham Central Station,
Malaria!,
Jandek,
The Moody Blues,
Unrelated Segments,
Darondo,
Kerrie Biddell,
Section 25,
Mission of Burma,
Sugar Minott,
Shoche,
Half Japanese,
Piero Umiliani,
Swell Maps,
Bauhaus,
The Electric Prunes,
The Star Department,
Radiohead,
Lizzy Mercier Descloux,
Severed Heads,
Gichy Dan,
Zapp,
The Evens,
Minutemen,
Mars,
Heaven 17,
Television,
Minor Threat,
Fad Gadget,
June Days,
The Alarm Clocks,
Black Moon,
Pylon,
Nation of Ulysses,
Eyeless In Gaza,
Von Mondo,
Camron Feat. Memphis Bleek And Beenie Seigel,
Kool G Rap & DJ Polo,
Harmonia,
Dawn Penn,
The Skatalites,
Heavy D & The Boyz,
The Human League,
Cal Tjader,
Joyce Sims,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Matthew Bourne,
Fear,
Dennis Brown,
Franke,
Roxette,
Minnie Riperton,
The Pretty Things,
Roy Ayers Ubiquity,
Spoonie Gee, Spoonie Gee, Spoonie Gee, Spoonie Gee.
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.