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 Nepal and from Mexico City.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Beijing and Edmonton.
I'm losing my edge to the art-school Stockholm 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 oboe 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 Lou Reed to the funk 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 Theoretical Girls. All the underground hits.
All Lebanon Hanover tracks. I heard you have a vinyl of every Con Funk Shun record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Busters record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boogie Down Productions,
La Düsseldorf,
The Misunderstood,
Schoolly D,
Alton Ellis,
The Saints,
The Golliwogs,
Yazoo,
The Fortunes,
Isaac Hayes,
Depeche Mode,
Flamin' Groovies,
Big Daddy Kane,
Public Image Ltd.,
cv313,
DJ Style,
Absolute Body Control,
Steve Hackett,
Jeru the Damaja,
The Velvet Underground,
The Move,
Gil Scott-Heron & Brian Jackson,
the Fania All-Stars,
Parry Music,
The Dead C,
Pole,
Dead Boys,
Ralphi Rosario,
Robert Hood,
Swell Maps,
Notorious BIG live in Amsterdam,
The Moody Blues,
Andrew Ashong & Theo Parrish,
Porter Ricks,
Henry Cow,
The Wake,
Second Layer,
The Neon Judgement,
Rod Modell,
Nils Olav,
The Remains,
Kayak,
These Immortal Souls,
Minny Pops,
Beasts of Bourbon,
Skriet,
Con Funk Shun,
World's Most,
Echo & the Bunnymen,
Lee Hazlewood,
Das Ding,
Underground Resistance,
Man Parrish,
Yusef Lateef,
Joe Finger,
The Blackbyrds,
Lou Reed & John Cale,
The Men They Couldn't Hang,
Sad Lovers and Giants,
Rowland S Howard / Lydia Lunch,
Frankie Knuckles,
Kool G Rap & DJ Polo,
Minnie Riperton, Minnie Riperton, Minnie Riperton, Minnie Riperton.
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.