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 Denmark and from Mexico City.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Glasgow and Stockholm.
I'm losing my edge to the art-school Seoul 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 oboe 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 U.S. Maple to the jazz kids.
I played it at the Crocodile.
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 Brass Construction. All the underground hits.
All Leonard Cohen tracks. I heard you have a vinyl of every Todd Rundgren 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 theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear that you and your band have sold your rhodes 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?
The Moleskins,
The Leaves,
Stiv Bators,
Fear,
UT,
Gong,
Judy Mowatt,
The Offenders,
the Germs,
Visionaries,LMNO, T- Love & Iriscience,
T.S.O.L.,
Intrusion,
Pere Ubu,
Max Romeo,
Junior Murvin,
Amon Düül,
Crooked Eye,
The Black Dice,
The J.B.'s,
Buzzcocks,
KRS-One,
Drive Like Jehu,
Avey Tare,
Agent Orange,
Subhumans,
Tom Boy,
Mad Mike,
David McCallum,
Erasure,
DJ Style,
Grandmaster Flash,
World's Most,
Lower 48,
Ultimate Spinach,
Country Joe & The Fish,
X-101,
PIL,
Graham Central Station,
Sonic Youth,
Pole,
Rowland S Howard / Lydia Lunch,
The Durutti Column,
Danielle Patucci,
the Slits,
Skriet,
Absolute Body Control,
Angry Samoans,
Kenny Larkin,
Eric Dolphy,
Sun Ra,
DeepChord presents Echospace,
Deakin,
Eli Mardock,
Black Moon,
Minny Pops,
Scion,
The Mojo Men,
Fort Wilson Riot,
The Motions,
The Wake,
U.S. Maple,
Amon Düül II, Amon Düül II, Amon Düül II, Amon Düül II.
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.