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 Australia and from Winnipeg.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Cairo and Bremen.
I'm losing my edge to the art-school Paris 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 linndrum 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 Joe Smooth to the punk kids.
I played it at the Hacienda.
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 Make Up. All the underground hits.
All Grandmaster Flash and the Furious Five tracks. I heard you have a vinyl of every T. Rex record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a snare and a clarinet 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 sitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Q65,
Hasil Adkins,
Sight & Sound,
The Offenders,
Morten Harket,
Gil Scott-Heron and Jamie xx,
Fear,
The Fire Engines,
Silicon Teens,
The Mighty Diamonds,
Cluster,
The Cosmic Jokers,
Fela Kuti,
Lucky Dragons,
The Jesus and Mary Chain,
The Birthday Party,
Agent Orange,
Adolescents,
The Fuzztones,
Radio Birdman,
Camron Feat. Memphis Bleek And Beenie Seigel,
Dead Boys,
Andrew Ashong & Theo Parrish,
Crime,
Subhumans,
Crispy Ambulance,
Henry Cow,
Kerrie Biddell,
Flipper,
Graham Central Station,
Andrew Hill,
Mr. Review,
Theoretical Girls,
Masters at Work,
The Music Machine,
Byron Stingily,
Brick,
The Toasters,
Saccharine Trust,
Girls At Our Best!,
the Bar-Kays,
Shoche,
Public Image Ltd.,
Soul II Soul,
Lungfish,
Drexciya,
Animal Collective,
Rekid,
Sun City Girls,
The Cowsills,
Gang Starr,
The Gories,
Marcia Griffiths,
Radiopuhelimet,
Marc Almond,
James White and The Blacks,
Gang of Four,
Roxette,
Country Joe & The Fish,
New Order,
Kerri Chandler, Kerri Chandler, Kerri Chandler, Kerri Chandler.
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.