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 Singapore and from Salvador.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Columbus and London.
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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the synthesizer sounds with much patience.
I was there when Tom Verlaine 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 Men They Couldn't Hang to the rap 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 Banda Bassotti. All the underground hits.
All Deakin tracks. I heard you have a vinyl of every Scientists record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Dead Boys record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eli Mardock,
Soft Machine,
John Cale,
Angels of Light & Akron/Family,
Manfred Mann's Earth Band,
Lower 48,
Avey Tare & Kría Brekkan,
Negative Approach,
FM Einheit,
Neil Young & Crazy Horse,
Kool Moe Dee,
Agitation Free,
Barclay James Harvest,
Avey Tare's Slasher Flicks,
Half Japanese,
Amon Düül,
Marmalade,
London Community Gospel Choir,
48th St. Collective,
Sonic Youth,
Grandmaster Flash,
Slick Rick,
Kool G Rap & DJ Polo,
Rakim,
The West Coast Pop Art Experimental Band,
Erasure,
Blake Baxter,
Monks,
Eyeless In Gaza,
Sällskapet,
Gabor Szabo,
Minnie Riperton,
Dawn Penn,
The Seeds,
The Searchers,
Skarface,
James White and The Blacks,
Sunsets and Hearts,
Roy Ayers,
Tom Boy,
The Durutti Column,
Eddi Front,
Cabaret Voltaire,
Barrington Levy,
Grandmaster Flash and the Furious Five,
Joe Smooth,
cv313,
Pulsallama,
Matthew Bourne,
Jerry Gold Smith,
Bootsy Collins,
The Shadows of Knight,
Drexciya,
Radiohead,
the Swans,
MDC,
Jeru the Damaja,
Talk Talk,
Todd Terry,
Crime,
Kaleidoscope, Kaleidoscope, Kaleidoscope, Kaleidoscope.
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.