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 Brunei 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 1964 to 1972.
I'm losing my edge.
To all the kids in Sao Paulo and Sao Paulo.
I'm losing my edge to the art-school Milan 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 1971 at the first Neu! practice in a loft in Düsseldorf.
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 Prince Buster to the rock 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 Television Personalities. All the underground hits.
All The Grass Roots tracks. I heard you have a vinyl of every Aural Exciters record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an oboe and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Alphaville record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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?
The Move,
Pierre Henry,
AZ,
David McCallum,
Model 500,
Pulsallama,
Quadrant,
Charles Mingus,
Sun Ra,
The Angels of Light,
Donny Hathaway,
Rowland S Howard / Lydia Lunch,
Moby Grape,
Second Layer,
Hashim,
Echo & the Bunnymen,
PIL,
Skaos,
Marc Romboy vs. Booka Shade,
Sixth Finger,
Stiv Bators,
Scientists,
Janne Schatter,
The New Christs,
Boredoms,
JFA,
Heaven 17,
The Zeros,
Ultimate Spinach,
Glenn Branca,
Bauhaus,
Grey Daturas,
Avey Tare & Kría Brekkan,
Laurel Aitken,
Nation of Ulysses,
D'Angelo,
China Crisis,
The Misunderstood,
Neu!,
The Alarm Clocks,
Circle Jerks,
Lalo Schifrin,
Liaisons Dangereuses,
Cheater Slicks,
Visage,
Eden Ahbez,
Guru Guru,
Urselle,
Sugar Minott,
Lebanon Hanover,
Electric Light Orchestra,
Ornette Coleman,
Dr. Dre and Snoop Doggy Dog,
Kurtis Blow,
Donald Byrd,
Technova,
DeepChord presents Echospace,
The Doors,
The Mummies,
Letta Mbulu,
Pantytec,
Nico,
The Blues Magoos,
Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron.
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.