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 Denmark 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 1967 to 1976.
I'm losing my edge.
To all the kids in Accra and Portland.
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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the guitar 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 Can to the rap 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 James Chance & The Contortions. All the underground hits.
All Adolescents tracks. I heard you have a vinyl of every Agitation Free record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
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 Rakim record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Surgeon,
Wighnomy Brothers & Robag Wruhme,
Soul II Soul,
Art Ensemble Of Chicago,
Intrusion,
Adolescents,
Peter and Kerry,
Anakelly,
The Angels of Light,
Amon Düül II,
Goldenarms,
Drive Like Jehu,
Roxette,
Jandek,
The Fuzztones,
Graham Central Station,
Deakin,
Parry Music,
Gregory Isaacs,
Funkadelic,
Mantronix,
Funky Four + One,
Con Funk Shun,
The Shadows of Knight,
Jesper Dahlbäck,
Marshall Jefferson,
Richard Hell and the Voidoids,
Super Lover Cee & Casanova Rud,
The Jesus and Mary Chain,
Bauhaus,
The Standells,
Sixth Finger,
Flash Fearless,
Kauko Röyhkä ja Narttu,
Pete Rock & C.L. Smooth,
Sällskapet,
the Human League,
Saccharine Trust,
Lebanon Hanover,
Bill Near,
Ken Boothe,
Anthony Braxton,
Wasted Youth,
KRS-One,
Blake Baxter,
The Slits,
Glambeats Corp.,
Marc Romboy vs. Booka Shade,
Stiv Bators,
Rosa Yemen,
Scrapy,
The Knickerbockers,
Wally Richardson,
Minor Threat,
The Smoke,
Darondo,
Hoover,
Joe Smooth,
Gil Scott-Heron & Brian Jackson,
Skriet,
Sparks,
Deutsch Amerikanische Freundschaft,
Depeche Mode, Depeche Mode, Depeche Mode, Depeche Mode.
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.