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 Sri Lanka and from Madrid.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Tehran and Columbus.
I'm losing my edge to the art-school Tehran 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 arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Bootsy's Rubber Band to the rock kids.
I played it at Trash.
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 Strawberry Alarm Clock. All the underground hits.
All Magma tracks. I heard you have a vinyl of every Johnny Clarke record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Bush Tetras record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rapeman,
Desert Stars,
Cabaret Voltaire,
Selector Dub Narcotic,
Deadbeat,
CMW,
Junior Murvin,
The Pop Group,
Yazoo,
The Buckinghams,
Tropical Tobacco,
Blake Baxter,
Kerri Chandler,
Skaos,
Bang On A Can,
Buzzcocks,
Agitation Free,
Stockholm Monsters,
Neu!,
Leonard Cohen,
E-Dancer,
Ornette Coleman,
Nirvana,
Suburban Knight,
New Order,
Intrusion,
Pharaoh Sanders and the Fire Engines,
Warsaw,
Kool Moe Dee,
the Soft Cell,
Heaven 17,
Mantronix,
The Fuzztones,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Invisible,
Bronski Beat,
Joe Smooth,
Soulsonic Force,
Stiv Bators,
Zero Boys,
Model 500,
Harpers Bizarre,
Delta 5,
Fat Boys,
Maurizio,
Quando Quango,
James Chance & The Contortions,
Lizzy Mercier Descloux,
Rufus Thomas,
Ultimate Spinach,
Scratch Acid,
Bobbi Humphrey,
Lyres,
Skriet,
Nas,
The Skatalites,
Larry & the Blue Notes,
Fear,
Television,
JFA,
Pete Rock & C.L. Smooth,
The Techniques,
a-ha,
DNA, DNA, DNA, DNA.
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.