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 Liberia and from New York.
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 1978.
I'm losing my edge.
To all the kids in Milan and Lille.
I'm losing my edge to the art-school Bologna 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 harpsichord 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 Excepter to the dance 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 Monks. All the underground hits.
All Joyce Sims tracks. I heard you have a vinyl of every Patti Smith 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 '70s cut and another box set from the '80s.
I hear you're buying an organ and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Main Source record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Max Romeo,
The Music Machine,
Von Mondo,
The New Christs,
Frankie Knuckles,
Crispy Ambulance,
Richard Hell and the Voidoids,
The Residents,
Gichy Dan,
Todd Rundgren,
The Cowsills,
Arab on Radar,
Little Man,
Lyres,
Grandmaster Flash and the Furious Five,
Sun Ra Arkestra,
Jandek,
The Grass Roots,
The Gladiators,
The Associates,
The Move,
Deepchord,
Rhythm & Sound,
Drive Like Jehu,
Erasure,
Scott Walker,
Agent Orange,
Tommy Roe,
Bad Manners,
Bobby Hutcherson,
The Sonics,
Barclay James Harvest,
Eden Ahbez,
Ohio Players,
Groovy Waters,
Angels of Light & Akron/Family,
Ituana,
Peter Gordon & Love of Life Orchestra,
Radiopuhelimet,
Thinking Fellers Union Local 282,
The Smoke,
Soft Cell,
Crispian St. Peters,
Soft Machine,
Todd Terry,
Minnie Riperton,
The United States of America,
Alice Coltrane,
Unrelated Segments,
Grauzone,
Simply Red,
Rapeman,
The Cosmic Jokers,
The Sisters of Mercy,
Altered Images,
Moss Icon,
The Monks,
Scientists,
The Neon Judgement,
Kevin Saunderson,
Gong,
Idris Muhammad,
L. Decosne, L. Decosne, L. Decosne, L. Decosne.
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.