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 Bahamas and from Taipei.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1970.
I'm losing my edge.
To all the kids in Stockholm and Stockholm.
I'm losing my edge to the art-school Woodstock 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 sitar sounds with much patience.
I was there when Donald Fagen 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 Barracudas to the punk kids.
I played it at the Roxy.
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 The Star Department. All the underground hits.
All Arab on Radar tracks. I heard you have a vinyl of every Minutemen record on German import.
I heard that you have a white label of every seminal techno 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 chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Buzzcocks record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jimmy McGriff,
Teenage Jesus and the Jerks,
Michelle Simonal,
The Wake,
X-Ray Spex,
Loose Ends,
John Cale,
Rotary Connection,
Mary Jane Girls,
The Monks,
Vaughan Mason & Crew,
Gabor Szabo,
Gang of Four,
Liliput,
Lou Christie,
The Victims,
Lafayette Afro Rock Band,
The Move,
Liaisons Dangereuses,
Gil Scott-Heron and Jamie xx,
Colin Newman,
Young Marble Giants,
Derrick May,
Jeff Mills,
Nick Cave & The Bad Seeds,
Graham Central Station,
Pierre Henry,
Pussy Galore,
Negative Approach,
Circle Jerks,
H. Thieme,
JFA,
Strawberry Alarm Clock,
Youth Brigade,
Eyeless In Gaza,
Donny Hathaway,
Ash Ra Tempel,
Jacob Miller,
Livin' Joy,
New Age Steppers,
Mark Hollis,
Dorothy Ashby,
The Dirtbombs,
a-ha,
One Last Wish,
Brick,
Robert Wyatt,
the Swans,
Marmalade,
Matthew Halsall,
The Martian,
The Birthday Party,
Ronnie Foster,
Funky Four + One,
Stetsasonic,
Smog,
Scan 7,
Jesper Dahlback,
John Holt,
L. Decosne,
The Men They Couldn't Hang,
Infiniti,
Isaac Hayes, Isaac Hayes, Isaac Hayes, Isaac Hayes.
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.