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 Azerbaijan and from Houston.
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 1977.
I'm losing my edge.
To all the kids in Tokyo and Lagos.
I'm losing my edge to the art-school Salvador 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 harpsichord 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 Stockholm Monsters to the jazz kids.
I played it at Cafe Wha.
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 Sonny Sharrock. All the underground hits.
All Mandrill tracks. I heard you have a vinyl of every Icehouse record on German import.
I heard that you have a white label of every seminal punk 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 chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Slave record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Grass Roots,
Jawbox,
Wire,
The United States of America,
Girls At Our Best!,
The Slackers,
Marvin Gaye,
X-101,
Panda Bear,
Charles Mingus,
Anthony Braxton,
The Fall,
Kas Product,
Gil Scott Heron,
Alice Coltrane,
Khruangbin,
Ash Ra Tempel,
Dark Day,
Tears for Fears,
B.T. Express,
Groovy Waters,
Main Source,
Joe Finger,
Ludus,
Young Marble Giants,
Sandy B,
Brick,
Bizarre Inc.,
The Leaves,
Sarah Menescal,
Mars,
Index,
Sad Lovers and Giants,
Archie Shepp,
Monks,
Josef K,
Captain Beefheart & His Magic Band,
The Walker Brothers,
Skarface,
Soft Cell,
Basic Channel,
Matthew Halsall,
Sex Pistols,
Eric Copeland,
Neil Young,
Selector Dub Narcotic,
Henry Cow,
Dual Sessions,
Crooked Eye,
Gil Scott-Heron & Brian Jackson,
Throbbing Gristle,
Bad Manners,
Stetsasonic,
The Beau Brummels,
Delta 5,
Morten Harket,
Jerry's Kids,
Sticky Fingaz feat. Raekwon,
Kayak,
David McCallum, David McCallum, David McCallum, David McCallum.
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.