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 Kenya and from Lagos.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1979.
I'm losing my edge.
To all the kids in Lille and Toronto.
I'm losing my edge to the art-school Shanghai 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 Nile Rodgers 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 Buzzcocks to the techno kids.
I played it at the Crocodile.
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 John Lydon. All the underground hits.
All Youth Brigade tracks. I heard you have a vinyl of every The Gories record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a snare and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Althea and Donna record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Doobie Brothers,
The Litter,
Strawberry Alarm Clock,
Alison Limerick,
James Chance & The Contortions,
F. McDonald,
David Axelrod,
The Sound,
The Moody Blues,
Warsaw,
KRS-One,
the Germs,
Bootsy's Rubber Band,
Glambeats Corp.,
Neu!,
The Mummies,
Monks,
The Neon Judgement,
Eurythmics,
Soulsonic Force,
Country Joe & The Fish,
Bauhaus,
Pussy Galore,
Royal Trux,
Oneida,
Eli Mardock,
Todd Terry,
Ituana,
Panda Bear,
Rhythim Is Rhythim,
Iggy Pop,
Alice Coltrane,
DJ Style,
Lee Hazlewood,
Ken Boothe,
Youth Brigade,
Electric Light Orchestra,
Angels of Light & Akron/Family,
Jandek,
Flamin' Groovies,
New Order,
The Detroit Cobras,
Sällskapet,
X-Ray Spex,
Ronan,
Young Marble Giants,
Dorothy Ashby,
Jacques Brel,
Joy Division,
Ten City,
Index,
Robert Hood,
Kool G Rap & DJ Polo,
Television,
Interpol,
Larry & the Blue Notes,
Con Funk Shun,
John Cale,
Michelle Simonal,
Nik Kershaw, Nik Kershaw, Nik Kershaw, Nik Kershaw.
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.