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 France and from Bologna.
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 1978.
I'm losing my edge.
To all the kids in Manchester and Milan.
I'm losing my edge to the art-school Seoul 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 chamberlin 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 Raincoats to the grime kids.
I played it at the Astoria.
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 Cabaret Voltaire. All the underground hits.
All Ohio Players tracks. I heard you have a vinyl of every The Birthday Party record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Interpol record.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear that you and your band have sold your guitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
In Retrospect,
Black Pus,
Tubeway Army,
Mantronix,
ABBA,
Bootsy's Rubber Band,
The Evens,
Janne Schatter,
The Dave Clark Five,
Accadde A,
Soulsonic Force,
Gil Scott-Heron & Brian Jackson,
Stockholm Monsters,
The Searchers,
Ultravox,
Tim Buckley,
Ice-T,
T. Rex,
Beasts of Bourbon,
The Litter,
Electric Light Orchestra,
Moebius,
Man Parrish,
The Shadows of Knight,
Leonard Cohen,
Henry Cow,
The Black Dice,
Nation of Ulysses,
Lower 48,
Flash Fearless,
Marc Almond,
Glambeats Corp.,
Audionom,
Sixth Finger,
Gil Scott Heron,
Sonny Sharrock,
Dave Gahan,
The Detroit Cobras,
The Misunderstood,
Drexciya,
Shuggie Otis,
Cybotron,
The Trojans,
The Stooges,
Oppenheimer Analysis,
Banda Bassotti,
Terry Callier,
Bill Wells,
Intrusion,
Max Romeo,
Slave,
DJ Style,
The Fuzztones,
Peter and Kerry,
Moss Icon,
Talk Talk,
Flipper,
The Dead C,
Eddi Front,
Faust,
Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago.
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.