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 Cyprus and from Mexico City.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1974.
I'm losing my edge.
To all the kids in Shanghai and Stockholm.
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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the chamberlin sounds with much patience.
I was there when Holger Czukay 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 Brass Construction to the electroclash 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 Fear. All the underground hits.
All Eli Mardock tracks. I heard you have a vinyl of every Crash Course in Science record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a rhodes and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Mandrill record.
I hear that you and your band have sold your sitar and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Invisible,
Scan 7,
Joe Smooth,
Rowland S Howard / Lydia Lunch,
Maleditus Sound,
Cymande,
Kurtis Blow,
Echo & the Bunnymen,
Inner City,
Gichy Dan,
In Retrospect,
Audionom,
Cheater Slicks,
Eurythmics,
Guru Guru,
Sandy B,
Kaleidoscope,
Skriet,
Ultra Naté,
Panda Bear,
Fat Boys,
Avey Tare,
Gian Franco Pienzio,
Camron Feat. Memphis Bleek And Beenie Seigel,
Groovy Waters,
Brick,
Gabor Szabo,
Bauhaus,
The Stooges,
the Slits,
Boredoms,
Roger Hodgson,
Orchestral Manoeuvres in the Dark,
Pussy Galore,
Lou Reed & John Cale,
Moby Grape,
Lou Christie,
X-Ray Spex,
Michelle Simonal,
The Cure,
It's A Beautiful Day,
Albert Ayler,
The Walker Brothers,
Wire,
Jawbox,
Soul Sonic Force,
Danielle Patucci,
Bobbi Humphrey,
The Slackers,
La Düsseldorf,
Ash Ra Tempel,
Jerry Gold Smith,
Shuggie Otis,
D'Angelo,
New York Dolls,
The Beau Brummels,
Rhythim Is Rhythim,
E-Dancer,
Scott Walker,
The Searchers,
London Community Gospel Choir,
Todd Rundgren,
The Detroit Cobras,
Quantec, Quantec, Quantec, Quantec.
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.