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 Somalia and from Philadelphia.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Beijing and Stockholm.
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 synthesizer 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 Tommy Roe to the crunk kids.
I played it at the Roxy.
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 Joensuu 1685. All the underground hits.
All John Cale tracks. I heard you have a vinyl of every Vladislav Delay 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 '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Marc Almond record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pierre Henry,
Ultra Naté,
The Gun Club,
Bad Manners,
Andrew Ashong & Theo Parrish,
Electric Light Orchestra,
Sun Ra,
Isaac Hayes,
Zapp,
Teenage Jesus and the Jerks,
Gregory Isaacs,
David McCallum,
Sex Pistols,
Lou Reed & Metallica,
Nick Cave & The Bad Seeds,
The Techniques,
Sparks,
Amon Düül II,
Flamin' Groovies,
Kevin Saunderson,
Hasil Adkins,
The Raincoats,
Mars,
Crash Course in Science,
Radio Birdman,
Country Joe & The Fish,
the Association,
The Divine Comedy,
Captain Beefheart & His Magic Band,
Brass Construction,
Gerry Rafferty,
These Immortal Souls,
Notorious BIG live in Amsterdam,
Piero Umiliani,
New Order,
Jandek,
The Golliwogs,
Bobby Womack,
Sandy B,
Althea and Donna,
The Slits,
The Leaves,
Siglo XX,
Young Marble Giants,
Crime,
L. Decosne,
Adolescents,
the Germs,
Red Lorry Yellow Lorry,
Whodini,
Jacques Brel,
Warsaw,
Susan Cadogan,
Bootsy Collins,
Connie Case,
Stereo Dub,
Depeche Mode,
Kenny Larkin,
The Black Dice,
Eli Mardock,
Freddie Wadling,
Lonnie Liston Smith, Lonnie Liston Smith, Lonnie Liston Smith, Lonnie Liston Smith.
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.