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 Costa Rica and from Salvador.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Taipei and Tehran.
I'm losing my edge to the art-school Mexico City 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 mellotron sounds with much patience.
I was there when Tom Verlaine 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 Black Sheep to the jazz kids.
I played it at the Hacienda.
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 Patti Smith. All the underground hits.
All Ash Ra Tempel tracks. I heard you have a vinyl of every Gil Scott Heron record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Chocolate Watch Band record.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Maurizio,
John Holt,
Radiohead,
Spoonie Gee,
Vaughan Mason & Crew,
The Smiths,
The Martian,
Skaos,
Gregory Isaacs,
Model 500,
Joyce Sims,
Slave,
Ludus,
Sad Lovers and Giants,
Hot Snakes,
Magma,
Con Funk Shun,
The Buckinghams,
Gil Scott-Heron and Jamie xx,
Ken Boothe,
The Barracudas,
Colin Newman,
Jesper Dahlbäck,
Oneida,
Technova,
Chrome,
Peter and Kerry,
Donny Hathaway,
Black Pus,
The Seeds,
Marvin Gaye,
Kevin Saunderson,
the Sonics,
The Fall,
Faraquet,
the Germs,
Goldenarms,
Malaria!,
Graham Central Station,
Lungfish,
Swell Maps,
Electric Prunes,
B.T. Express,
Excepter,
Groovy Waters,
Gichy Dan,
Erasure,
The Divine Comedy,
Kerri Chandler,
Andrew Hill,
Davy DMX,
Roy Ayers,
the Soft Cell,
Gary Puckett & The Union Gap,
Stereo Dub,
Delon & Dalcan,
Harpers Bizarre,
Flamin' Groovies,
JFA,
Sly & The Family Stone,
Major Organ And The Adding Machine, Major Organ And The Adding Machine, Major Organ And The Adding Machine, Major Organ And The Adding Machine.
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.