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 St Lucia and from Copenhagen.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Mexico City and Manchester.
I'm losing my edge to the art-school New York 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 organ 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 The Associates to the funk 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 Bob Dylan. All the underground hits.
All The Walker Brothers tracks. I heard you have a vinyl of every Ken Boothe 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 '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Stereo Dub record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Blues Magoos,
JFA,
The Buckinghams,
E-Dancer,
Nils Olav,
Darondo,
Eden Ahbez,
Slick Rick,
Aaron Thompson,
Alice Coltrane,
Pussy Galore,
Thinking Fellers Union Local 282,
Rites of Spring,
The Motions,
Smog,
Siouxsie and the Banshees,
Banda Bassotti,
Moby Grape,
The Human League,
Fort Wilson Riot,
Bill Wells,
Lakeside,
Dawn Penn,
Bluetip,
Angels of Light & Akron/Family,
Boz Scaggs,
Todd Terry,
The New Christs,
Althea and Donna,
Lou Christie,
Youth Brigade,
Camron Feat. Memphis Bleek And Beenie Seigel,
Cabaret Voltaire,
The Martian,
Gastr Del Sol,
Qualms,
Bobby Byrd,
Nico,
Art Ensemble Of Chicago,
Pulsallama,
Scion,
Kango’s Stein Massive,
Sun Ra Arkestra,
Archie Shepp,
Idris Muhammad,
Richard Hell and the Voidoids,
Delta 5,
Gregory Isaacs,
The Last Poets,
Suicide,
Ornette Coleman,
Charles Mingus,
A Flock of Seagulls,
The Mighty Diamonds,
Los Fastidios,
48th St. Collective,
Sarah Menescal,
Toni Rubio,
Grey Daturas,
Delon & Dalcan,
Marc Romboy vs. Booka Shade,
Mission of Burma,
The Zeros, The Zeros, The Zeros, The Zeros.
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.