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 Kiribati and from Lille.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Winnipeg and Woodstock.
I'm losing my edge to the art-school Philadelphia 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 marimba sounds with much patience.
I was there when Robert Palmer 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 Urselle to the dance 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 Lee Hazlewood. All the underground hits.
All The Stooges tracks. I heard you have a vinyl of every Eric Copeland 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 '70s cut and another box set from the '90s.
I hear you're buying a harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Siglo XX record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nils Olav,
Buzzcocks,
Max Romeo,
The Walker Brothers,
Section 25,
Crispian St. Peters,
Black Flag,
Pole,
Mark Hollis,
Dark Day,
CMW,
In Retrospect,
Sex Pistols,
Yusef Lateef,
Minnie Riperton,
The Red Krayola,
Public Image Ltd.,
Japan,
Boz Scaggs,
The United States of America,
Leonard Cohen,
Inner City,
The Residents,
Tim Buckley,
Cal Tjader,
The Kinks,
Urselle,
Soul II Soul,
the Germs,
Ituana,
Susan Cadogan,
Red Lorry Yellow Lorry,
Deakin,
Fort Wilson Riot,
Duran Duran,
Absolute Body Control,
Tres Demented,
Super Lover Cee & Casanova Rud,
Kevin Saunderson,
Joyce Sims,
The Busters,
The Durutti Column,
the Swans,
Hashim,
The Vogues,
The Seeds,
Alison Limerick,
Agitation Free,
Lalann,
Graham Central Station,
Banda Bassotti,
Derrick May,
Jawbox,
Trumans Water,
Nirvana,
Dead Boys,
The Peanut Butter Conspiracy,
K-Klass,
Ornette Coleman,
The Move,
The Young Rascals,
Brothers Johnson, Brothers Johnson, Brothers Johnson, Brothers Johnson.
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.