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 Morocco and from Portland.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Halifax and London.
I'm losing my edge to the art-school Calgary 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 harpsichord sounds with much patience.
I was there when David Bowie 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 Pylon to the disco kids.
I played it at CBGB's.
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 Throbbing Gristle. All the underground hits.
All London Community Gospel Choir tracks. I heard you have a vinyl of every Pharoah Sanders record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a linndrum and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Buzzcocks record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Drive Like Jehu,
Tomorrow,
the Germs,
Moss Icon,
T. Rex,
Major Organ And The Adding Machine,
Quantec,
The Knickerbockers,
Camron Feat. Memphis Bleek And Beenie Seigel,
Roy Ayers Ubiquity,
Reagan Youth,
Tears for Fears,
The Busters,
The Barracudas,
Althea and Donna,
Colin Newman,
Magazine,
The Tremeloes,
Gabor Szabo,
Justin Hinds & The Dominoes,
Sly & The Family Stone,
John Coltrane,
The Motions,
John Lydon,
Young Marble Giants,
The Happenings,
Agitation Free,
Bootsy Collins,
B.T. Express,
The Smiths,
Marshall Jefferson,
Sex Pistols,
Aaron Thompson,
Talk Talk,
X-Ray Spex,
Orchestral Manoeuvres in the Dark,
The Divine Comedy,
Lonnie Liston Smith,
Sonny Sharrock,
Avey Tare,
Second Layer,
Radiopuhelimet,
Al Stewart,
Jacob Miller,
Lebanon Hanover,
Kango’s Stein Massive,
Black Flag,
The Mojo Men,
Scan 7,
The Associates,
Super Lover Cee & Casanova Rud,
Letta Mbulu,
DJ Style,
Ossler,
Funkadelic,
Derrick Morgan,
Max Romeo,
Captain Beefheart & His Magic Band,
Pete Rock & C.L. Smooth,
The Selecter,
Idris Muhammad, Idris Muhammad, Idris Muhammad, Idris Muhammad.
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.