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 Kazakhstan and from Sao Paulo.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Mexico City and Philadelphia.
I'm losing my edge to the art-school Winnipeg 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 1968 at the first Can practice in a loft in Cologne.
I was working on the synthesizer 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 The Cramps to the funk kids.
I played it at the 40 Watt.
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 Louis and Bebe Barron. All the underground hits.
All Sticky Fingaz feat. Raekwon tracks. I heard you have a vinyl of every Alphaville record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Tubeway Army record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The United States of America,
Fifty Foot Hose,
Sällskapet,
Index,
Rotary Connection,
Parry Music,
R.M.O.,
Monolake,
The Fire Engines,
DJ Style,
Supertramp,
Graham Central Station,
Excepter,
Robert Wyatt,
Ten City,
Peter Gordon & Love of Life Orchestra,
Josef K,
Gregory Isaacs,
This Heat,
Joe Finger,
Leonard Cohen,
Dark Day,
Terry Callier,
The Count Five,
Bootsy Collins,
Chrome,
Suicide,
Kenny Larkin,
Agent Orange,
KRS-One,
Hashim,
John Holt,
Dorothy Ashby,
Erasure,
Animal Collective,
Traffic Nightmare,
Lakeside,
Chris Corsano,
The Vogues,
Andrew Ashong & Theo Parrish,
The American Breed,
Babytalk,
The Wake,
Severed Heads,
Soft Cell,
Soft Machine,
Angry Samoans,
Jandek,
The Last Poets,
The Buckinghams,
Scion,
Jacob Miller,
T. Rex,
Tropical Tobacco,
Sister Nancy,
Arcadia,
June of 44,
Warsaw,
Porter Ricks,
The Slackers,
Mad Mike,
cv313, cv313, cv313, cv313.
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.