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 India and from Hong Kong.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1963 to 1975.
I'm losing my edge.
To all the kids in Beijing and Delhi.
I'm losing my edge to the art-school Lagos 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 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 Derrick May to the electroclash 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 The Mummies. All the underground hits.
All The Music Machine tracks. I heard you have a vinyl of every Donald Byrd record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a sitar 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 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Hill,
Scott Walker,
The Smiths,
The Move,
Roy Ayers,
Lyres,
DNA,
John Cale,
Guru Guru,
Mark Hollis,
Camberwell Now,
Roxette,
Avey Tare's Slasher Flicks,
Roy Ayers Ubiquity,
Curtis Mayfield,
Bronski Beat,
Lindisfarne,
Stereo Dub,
Eli Mardock,
The Star Department,
Radiopuhelimet,
the Human League,
Junior Murvin,
LL Cool J,
Niagra,
Harmonia,
The Leaves,
The Fuzztones,
Kas Product,
T. Rex,
Al Stewart,
Marcia Griffiths,
The Mojo Men,
The Golliwogs,
Sällskapet,
Donny Hathaway,
Kurtis Blow,
Gang Starr,
Crooked Eye,
The United States of America,
Von Mondo,
The Cramps,
The Dave Clark Five,
Peter and Kerry,
The Detroit Cobras,
World's Most,
Lou Reed,
Bobby Womack,
It's A Beautiful Day,
Depeche Mode,
Hoover,
DJ Sneak,
Scrapy,
Mary Jane Girls,
Lizzy Mercier Descloux,
Section 25,
Alison Limerick,
Arthur Verocai,
Sam Rivers,
Black Pus,
Ronnie Foster,
Strawberry Alarm Clock,
Gregory Isaacs,
Newcleus,
The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain.
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.