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 Guyana and from Tokyo.
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 1970.
I'm losing my edge.
To all the kids in Taipei and Johannesburg.
I'm losing my edge to the art-school Manila 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 Nile Rodgers 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 Lalann to the dance kids.
I played it at the Roxy.
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 Massinfluence. All the underground hits.
All The Blues Magoos tracks. I heard you have a vinyl of every Neil Young & Crazy Horse record on German import.
I heard that you have a white label of every seminal rock 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 guitar and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Seeds record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Mighty Diamonds,
Neu!,
June of 44,
Erykah Badu,
The Zeros,
Roger Hodgson,
Bauhaus,
Jerry Gold Smith,
Alison Limerick,
Quadrant,
Man Parrish,
H. Thieme,
Kerri Chandler,
Glambeats Corp.,
Joe Smooth,
Chris & Cosey,
Pere Ubu,
Blancmange,
Arcadia,
Henry Cow,
Dual Sessions,
Thompson Twins,
Wally Richardson,
New Age Steppers,
Loose Ends,
Bobby Hutcherson,
Richard Hell and the Voidoids,
Kango’s Stein Massive,
Gerry Rafferty,
Shoche,
Crispian St. Peters,
Pulsallama,
The Searchers,
LL Cool J,
Rosa Yemen,
Slick Rick,
8 Eyed Spy,
the Human League,
Pylon,
Altered Images,
Jimmy McGriff,
Dead Boys,
Schoolly D,
The Sonics,
Organ,
Cybotron,
Heaven 17,
Sällskapet,
Ten City,
Selector Dub Narcotic,
Yusef Lateef,
Massinfluence,
Agitation Free,
F. McDonald,
The Index,
Electric Prunes,
Godley & Creme,
Lebanon Hanover,
Sarah Menescal,
Skaos, Skaos, Skaos, Skaos.
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.