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 Micronesia and from Johannesburg.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Manila and Calgary.
I'm losing my edge to the art-school New York 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 synthesizer sounds with much patience.
I was there when Lou Reed 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 Durutti Column to the grime 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 Swell Maps. All the underground hits.
All Black Moon tracks. I heard you have a vinyl of every Andrew Ashong & Theo Parrish record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Buzzcocks record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
MC5,
London Community Gospel Choir,
Livin' Joy,
The Cowsills,
Pylon,
Heavy D & The Boyz,
The Moleskins,
Grauzone,
Fear,
Fad Gadget,
The Happenings,
Brick,
Robert Görl,
Orchestral Manoeuvres in the Dark,
Ultramagnetic MC's,
Jesper Dahlback,
The Real Kids,
New Order,
FM Einheit,
Zapp,
The Music Machine,
The Cosmic Jokers,
Silicon Teens,
The Fortunes,
David McCallum,
Nirvana,
The Fugs,
The Seeds,
Moby Grape,
Gang Starr,
Gastr Del Sol,
Todd Terry,
Suburban Knight,
The Gories,
Wighnomy Brothers & Robag Wruhme,
Delon & Dalcan,
Max Romeo,
The Neon Judgement,
Khruangbin,
Rahsaan Roland Kirk,
The Dead C,
Dave Gahan,
Essential Logic,
Rhythm & Sound,
New Age Steppers,
Kerrie Biddell,
UT,
Drive Like Jehu,
Idris Muhammad,
Donny Hathaway,
Tommy Roe,
Black Sheep,
X-Ray Spex,
The Move,
L. Decosne,
Aloha Tigers,
Marmalade,
Marvin Gaye,
Mad Mike, Mad Mike, Mad Mike, Mad Mike.
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.