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 Belgium and from Jakarta.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1974.
I'm losing my edge.
To all the kids in Manchester and Salvador.
I'm losing my edge to the art-school Portland 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 chamberlin 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 The Invisible to the electroclash 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 The Monks. All the underground hits.
All The Misunderstood tracks. I heard you have a vinyl of every Absolute Body Control record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Smiths 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?
Alton Ellis,
Anakelly,
Davy DMX,
Das Ding,
Pussy Galore,
Half Japanese,
Carl Craig,
Frankie Knuckles,
Gichy Dan,
Archie Shepp,
Model 500,
Kerrie Biddell,
Jacques Brel,
Delon & Dalcan,
Dennis Brown,
Newcleus,
Moby Grape,
H. Thieme,
Barrington Levy,
The Cure,
The Offenders,
The Real Kids,
Livin' Joy,
Sex Pistols,
Brass Construction,
Tropical Tobacco,
Joe Finger,
Gregory Isaacs,
Neu!,
The Invisible,
Mary Jane Girls,
Aaron Thompson,
The Doors,
Bill Near,
Amazonics,
Eyeless In Gaza,
the Sonics,
Ultra Naté,
Main Source,
Lou Reed,
The Alarm Clocks,
The Kinks,
Excepter,
Nation of Ulysses,
Bobby Sherman,
Soul II Soul,
Mad Mike,
The Martian,
Theoretical Girls,
Siouxsie and the Banshees,
The Leaves,
AZ,
Fatback Band,
Adolescents,
Kool G Rap & DJ Polo,
Procol Harum,
The Last Poets,
Hardrive,
Rowland S Howard / Lydia Lunch,
Louis and Bebe Barron,
The Fuzztones,
Bill Wells,
Oppenheimer Analysis,
Dawn Penn,
Kas Product, Kas Product, Kas Product, Kas Product.
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.