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 Sierra Leone and from Tehran.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Jakarta and Lille.
I'm losing my edge to the art-school Hong Kong 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 linndrum sounds with much patience.
I was there when Captain Beefheart 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 Scion to the disco 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 Livin' Joy. All the underground hits.
All Khruangbin tracks. I heard you have a vinyl of every Cabaret Voltaire record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a X-101 record.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Youth Brigade,
The Mojo Men,
One Last Wish,
Pole,
Marshall Jefferson,
Dawn Penn,
X-102,
Saccharine Trust,
Michelle Simonal,
Half Japanese,
Soft Machine,
Lou Christie,
Aural Exciters,
Richard Hell and the Voidoids,
The Vogues,
Black Pus,
The Flesh Eaters,
The Cure,
Blossom Toes,
The Wake,
Country Joe & The Fish,
The Velvet Underground,
Drexciya,
Grauzone,
Henry Cow,
The Walker Brothers,
Easy Going,
Trumans Water,
Motorama,
Sonic Youth,
Carl Craig,
Crooked Eye,
John Lydon,
Crime,
The Dead C,
Liaisons Dangereuses,
Kerrie Biddell,
The Move,
Gastr Del Sol,
Siglo XX,
Procol Harum,
Audionom,
Suicide,
Television,
Nick Cave & The Bad Seeds,
Sister Nancy,
Jeru the Damaja,
Lebanon Hanover,
Gang Gang Dance,
Fear,
New Order,
Selector Dub Narcotic,
The Doobie Brothers,
Grandmaster Flash and the Furious Five,
Notorious BIG live in Amsterdam,
X-101,
Model 500,
Thompson Twins,
New Age Steppers,
Althea and Donna,
Gregory Isaacs,
Echospace,
Sex Pistols, Sex Pistols, Sex Pistols, Sex Pistols.
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.