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 Tonga and from Portland.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Seoul and Houston.
I'm losing my edge to the art-school Hong Kong 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 Captain Beefheart 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 Lou Reed to the electroclash kids.
I played it at the Troubador.
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 The Cure. All the underground hits.
All Main Source tracks. I heard you have a vinyl of every Toni Rubio record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a snare and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Charles Mingus record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barry Ungar,
Chris Corsano,
Joe Finger,
Cameo,
Stiv Bators,
KRS-One,
Ultimate Spinach,
Marcia Griffiths,
Public Image Ltd.,
Wighnomy Brothers & Robag Wruhme,
Nik Kershaw,
Eve St. Jones,
Sugar Minott,
Jeff Lynne,
Youth Brigade,
Altered Images,
Donald Byrd,
Dark Day,
Alice Coltrane,
Barbara Tucker,
Animal Collective,
Throbbing Gristle,
The Dirtbombs,
Selector Dub Narcotic,
Mark Hollis,
Arcadia,
Mandrill,
Heavy D & The Boyz,
Reuben Wilson,
Tom Boy,
Teenage Jesus and the Jerks,
In Retrospect,
Oppenheimer Analysis,
Glenn Branca,
Minnie Riperton,
Trumans Water,
Urselle,
The Fortunes,
Amon Düül II,
This Heat,
MC5,
Carl Craig,
The Peanut Butter Conspiracy,
Rotary Connection,
Q and Not U,
The Real Kids,
June Days,
Stockholm Monsters,
Bobby Byrd,
Ultra Naté,
Au Pairs,
The Birthday Party,
Andrew Ashong & Theo Parrish,
Kas Product,
B.T. Express,
Gary Puckett & The Union Gap,
The Men They Couldn't Hang,
The Trojans,
The Fall,
Eli Mardock,
The Litter,
Ten City,
Kurtis Blow, Kurtis Blow, Kurtis Blow, Kurtis Blow.
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.