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 Cambodia and from Jakarta.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Tokyo and Beijing.
I'm losing my edge to the art-school Milan 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 chamberlin sounds with much patience.
I was there when Michael McDonald 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 Bobbi Humphrey to the funk 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 John Coltrane. All the underground hits.
All Nirvana tracks. I heard you have a vinyl of every Flamin' Groovies 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 '70s cut and another box set from the '80s.
I hear you're buying a guitar and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Count Five record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Visage,
Rekid,
Infiniti,
Freddie Wadling,
David Axelrod,
Fifty Foot Hose,
X-102,
The Doobie Brothers,
the Bar-Kays,
D'Angelo,
Liaisons Dangereuses,
ABC,
Blancmange,
Unwound,
Scott Walker,
Desert Stars,
Jeru the Damaja,
Arcadia,
Bang on a Can All-Stars,
Moebius,
Derrick Morgan,
Deakin,
Grey Daturas,
The Techniques,
The Mojo Men,
Patti Smith,
The Move,
Deepchord,
The Moody Blues,
John Lydon,
The Shadows of Knight,
Smog,
Terry Callier,
Visionaries,LMNO, T- Love & Iriscience,
Boogie Down Productions,
Barry Ungar,
Ornette Coleman,
Kool G Rap & DJ Polo,
Michelle Simonal,
Ken Boothe,
Robert Wyatt,
Röyhkä ja Rättö ja Lehtisalo,
The Mummies,
Jawbox,
Essential Logic,
Al Stewart,
Soft Cell,
Swans,
Electric Prunes,
AZ,
Joensuu 1685,
Reagan Youth,
Animal Collective,
The Gap Band,
The Wake,
Little Man,
The Smiths,
It's A Beautiful Day,
Rites of Spring,
One Last Wish,
Echo & the Bunnymen,
John Foxx,
Jacob Miller, Jacob Miller, Jacob Miller, Jacob Miller.
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.