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 Ireland and from Johannesburg.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Hong Kong and Lille.
I'm losing my edge to the art-school Cairo 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 harpsichord 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 Jandek to the grunge kids.
I played it at CBGB's.
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 Maleditus Sound. All the underground hits.
All Junior Murvin tracks. I heard you have a vinyl of every Electric Light Orchestra record on German import.
I heard that you have a white label of every seminal crunk 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 spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Roxy Music record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jeff Mills,
The Smoke,
A Flock of Seagulls,
Bang On A Can,
Grey Daturas,
Matthew Halsall,
Cal Tjader,
Mandrill,
Frankie Knuckles,
Ultra Naté,
Ornette Coleman,
Sister Nancy,
Sam Rivers,
Yazoo,
Graham Central Station,
Terror Squad Feat. Camron,
L. Decosne,
Hasil Adkins,
The Modern Lovers,
The Leaves,
Electric Light Orchestra,
The Standells,
Oppenheimer Analysis,
The Gories,
Arab on Radar,
Cluster,
The Doors,
Orchestral Manoeuvres in the Dark,
Ten City,
Barry Ungar,
The Monks,
the Germs,
The Dave Clark Five,
Harmonia,
Minny Pops,
Stetsasonic,
Wally Richardson,
Jacob Miller,
Warren Ellis,
Todd Rundgren,
Schoolly D,
Q and Not U,
Roxy Music,
The Black Dice,
Al Stewart,
Basic Channel,
Rosa Yemen,
Freddie Wadling,
Duran Duran,
Popol Vuh,
The Selecter,
Parry Music,
The Moleskins,
Soft Cell,
The American Breed,
Bob Dylan,
H. Thieme,
the Swans,
James White and The Blacks,
JFA,
Model 500, Model 500, Model 500, Model 500.
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.