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 Netherlands and from Madrid.
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 1970.
I'm losing my edge.
To all the kids in Copenhagen and Paris.
I'm losing my edge to the art-school Bologna 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 arpeggiator 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 cv313 to the jazz kids.
I played it at the Hacienda.
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 Siglo XX. All the underground hits.
All Kool G Rap & DJ Polo tracks. I heard you have a vinyl of every the Human League record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Neu! record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Underground Resistance,
Brass Construction,
Surgeon,
Andrew Ashong & Theo Parrish,
The Moody Blues,
Aloha Tigers,
Bill Near,
Bizarre Inc.,
Minny Pops,
Das Ding,
Monolake,
Richard Hell and the Voidoids,
Supertramp,
Ken Boothe,
Andrew Hill,
Desert Stars,
Rosa Yemen,
Interpol,
Idris Muhammad,
Oppenheimer Analysis,
Amon Düül,
Dead Boys,
Wolf Eyes,
Essential Logic,
Brick,
The Five Americans,
X-102,
Avey Tare's Slasher Flicks,
Roxette,
Thee Headcoats,
A Certain Ratio,
Royal Trux,
Rekid,
Marc Almond,
Drexciya,
Technova,
Girls At Our Best!,
Kango’s Stein Massive,
Lalann,
The Misunderstood,
Pete Rock & C.L. Smooth,
The Motions,
The Birthday Party,
Arab on Radar,
Johnny Clarke,
The Blues Magoos,
Throbbing Gristle,
Strawberry Alarm Clock,
Suicide,
Ultravox,
ABBA,
Amon Düül II,
Los Fastidios,
Minnie Riperton,
T.S.O.L.,
the Swans,
Tom Boy,
Sad Lovers and Giants,
Tears for Fears,
Half Japanese,
The Remains,
Gang Green,
Soft Machine,
Young Marble Giants, Young Marble Giants, Young Marble Giants, Young Marble Giants.
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.