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 Uzbekistan and from Woodstock.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Portland and Mexico City.
I'm losing my edge to the art-school Delhi 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 mellotron sounds with much patience.
I was there when Lou Reed 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 Q65 to the rap 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 Stereo Dub. All the underground hits.
All Gian Franco Pienzio tracks. I heard you have a vinyl of every Country Joe & The Fish record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Pharaoh Sanders and the Fire Engines record.
I hear that you and your band have sold your snare and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alton Ellis,
The Modern Lovers,
June Days,
The Techniques,
The Blackbyrds,
Newcleus,
Interpol,
It's A Beautiful Day,
Q65,
Boogie Down Productions,
The Buckinghams,
Amazonics,
Alphaville,
Soulsonic Force,
Joe Smooth,
London Community Gospel Choir,
Crime,
The Gap Band,
Terry Callier,
48th St. Collective,
Kerrie Biddell,
The Gun Club,
Radiopuhelimet,
Kool Moe Dee,
Robert Görl,
Leonard Cohen,
Magazine,
Henry Cow,
Joy Division,
Nas,
Oneida,
Los Fastidios,
Fela Kuti,
Ludus,
Wighnomy Brothers & Robag Wruhme,
Funky Four + One,
The Doobie Brothers,
Wings,
Fluxion,
Bang On A Can,
Moebius,
FM Einheit,
Larry & the Blue Notes,
Lizzy Mercier Descloux,
James Chance & The Contortions,
Negative Approach,
Franke,
The Grass Roots,
Carl Craig,
Be Bop Deluxe,
The New Christs,
Brothers Johnson,
Lou Reed & John Cale,
Peter and Kerry,
The Knickerbockers,
Sarah Menescal,
OOIOO,
Panda Bear,
Talk Talk,
The Sound,
Hoover, Hoover, Hoover, Hoover.
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.