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 Mali and from Johannesburg.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Milan and Sao Paulo.
I'm losing my edge to the art-school Beijing 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 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 Lee Hazlewood to the techno kids.
I played it at the 40 Watt.
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 Half Japanese. All the underground hits.
All Lungfish tracks. I heard you have a vinyl of every Soul Sonic Force record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Velvet Underground record.
I hear that you and your band have sold your snare and bought an oboe.
I hear that you and your band have sold your oboe and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Swell Maps,
The Associates,
Siglo XX,
Parry Music,
Stetsasonic,
Heaven 17,
Eli Mardock,
Janne Schatter,
Max Romeo,
Trumans Water,
Sad Lovers and Giants,
The Chocolate Watch Band,
Oneida,
Tres Demented,
Circle Jerks,
Second Layer,
Quantec,
The Names,
Heavy D & The Boyz,
Public Image Ltd.,
Ajijia Myrayebe,
Scratch Acid,
The J.B.'s,
The Doors,
Letta Mbulu,
Colin Newman,
Harpers Bizarre,
Pantytec,
Angry Samoans,
Sister Nancy,
Sex Pistols,
The Skatalites,
New Age Steppers,
Intrusion,
Byron Stingily,
Cabaret Voltaire,
Thee Headcoats,
Barrington Levy,
Roy Ayers,
The Music Machine,
Kenny Larkin,
R.M.O.,
Ice-T,
OOIOO,
Lizzy Mercier Descloux,
Eve St. Jones,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Dual Sessions,
David Axelrod,
The Fugs,
Basic Channel,
Hot Snakes,
Toni Rubio,
Scrapy,
The Modern Lovers,
Jerry's Kids,
Fifty Foot Hose,
Mad Mike,
Stockholm Monsters,
Sällskapet,
Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch.
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.