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 Germany and from Columbus.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Manchester and Jakarta.
I'm losing my edge to the art-school Shanghai 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 mellotron 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 June of 44 to the techno 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 The Stooges. All the underground hits.
All Freddie Wadling tracks. I heard you have a vinyl of every La Düsseldorf record on German import.
I heard that you have a white label of every seminal punk 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 harpsichord and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Lafayette Afro Rock Band record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Suburban Knight,
The Martian,
Black Moon,
Tubeway Army,
Tomorrow,
The Busters,
The Moleskins,
Japan,
Inner City,
Beasts of Bourbon,
Lindisfarne,
Procol Harum,
Saccharine Trust,
John Foxx,
Mr. Review,
The Young Rascals,
Glambeats Corp.,
Orchestral Manoeuvres in the Dark,
FM Einheit,
Erykah Badu,
Vladislav Delay,
Half Japanese,
Swans,
Can,
The Birthday Party,
Agent Orange,
Cal Tjader,
The Remains,
Young Marble Giants,
Jawbox,
Connie Case,
Fort Wilson Riot,
Unrelated Segments,
Pet Shop Boys,
Super Lover Cee & Casanova Rud,
Rod Modell,
Colin Newman,
Tres Demented,
Crispian St. Peters,
New Age Steppers,
The Raincoats,
Rapeman,
Selector Dub Narcotic,
Boogie Down Productions,
Don Cherry,
Jerry Gold Smith,
Lee Hazlewood,
Royal Trux,
Slick Rick,
Lizzy Mercier Descloux,
The Barracudas,
The Happenings,
Grauzone,
The Mojo Men,
The United States of America,
Fugazi,
Jacob Miller,
Magma,
Marine Girls,
Stiv Bators,
Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock.
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.