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 Kazakhstan and from Manchester.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Woodstock and Johannesburg.
I'm losing my edge to the art-school Copenhagen 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 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 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 New Order. All the underground hits.
All Roxy Music tracks. I heard you have a vinyl of every Eyeless In Gaza record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a snare and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Joyce Sims record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Carl Craig,
Fort Wilson Riot,
Max Romeo,
Yazoo,
The Kinks,
F. McDonald,
Ituana,
Guru Guru,
Shuggie Otis,
Aural Exciters,
Sun Ra,
Deepchord,
Thee Headcoats,
The Pretty Things,
Quando Quango,
The Selecter,
Selector Dub Narcotic,
Marine Girls,
Reagan Youth,
The Fire Engines,
Crispy Ambulance,
Pierre Henry,
Von Mondo,
Minor Threat,
Radio Birdman,
Duran Duran,
Freddie Wadling,
Marshall Jefferson,
Lucky Dragons,
Notorious Big And Bone Thugs,
Marc Almond,
Crash Course in Science,
The Angels of Light,
The Standells,
Reuben Wilson,
Urselle,
Oblivians,
The Electric Prunes,
Harpers Bizarre,
Groovy Waters,
Oppenheimer Analysis,
Andrew Ashong & Theo Parrish,
Kool G Rap & DJ Polo,
Negative Approach,
Television Personalities,
Bang On A Can,
Ohio Players,
the Germs,
OOIOO,
Drive Like Jehu,
CMW,
The Monks,
Mr. Review,
Robert Hood,
The Fuzztones,
Crooked Eye,
Black Sheep,
Faraquet,
Newcleus,
Louis and Bebe Barron,
Y Pants,
The Busters,
DNA, DNA, DNA, DNA.
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.