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 Finland and from Lille.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Tokyo and Glasgow.
I'm losing my edge to the art-school Sao Paulo 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 marimba sounds with much patience.
I was there when Holger Czukay 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 Mars to the jazz kids.
I played it at the 40 Watt.
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 David Axelrod. All the underground hits.
All Peter Gordon & Love of Life Orchestra tracks. I heard you have a vinyl of every The Gap Band 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 güiro and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Half Japanese record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Thompson Twins,
Marmalade,
Althea and Donna,
In Retrospect,
Pet Shop Boys,
Joyce Sims,
Underground Resistance,
Crispy Ambulance,
the Association,
Flamin' Groovies,
Camberwell Now,
PIL,
Ash Ra Tempel,
Dorothy Ashby,
Easy Going,
Barrington Levy,
Visionaries,LMNO, T- Love & Iriscience,
Fela Kuti,
Soft Machine,
DeepChord presents Echospace,
Loose Ends,
Crash Course in Science,
Grandmaster Flash and the Furious Five,
The Smiths,
This Heat,
The Dave Clark Five,
The Standells,
The Smoke,
Hot Snakes,
Lalann,
Cabaret Voltaire,
Qualms,
Davy DMX,
the Fania All-Stars,
Sugar Minott,
James White and The Blacks,
Soul II Soul,
Franke,
Brothers Johnson,
Zapp,
Scrapy,
Slave,
Heavy D & The Boyz,
The Cosmic Jokers,
Ronnie Foster,
Terror Squad Feat. Camron,
The Young Rascals,
Idris Muhammad,
the Slits,
Notorious Big And Bone Thugs,
Magma,
Black Pus,
Cybotron,
Andrew Hill,
Traffic Nightmare,
Aswad,
Fad Gadget,
Faust,
Half Japanese,
Arthur Verocai,
Ludus,
The New Christs, The New Christs, The New Christs, The New Christs.
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.