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 Tanzania 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 1965 to 1972.
I'm losing my edge.
To all the kids in Mexico City and Shanghai.
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 güiro 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 Michelle Simonal to the dance kids.
I played it at CBGB's.
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 World's Most. All the underground hits.
All Todd Terry tracks. I heard you have a vinyl of every Oppenheimer Analysis 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 '60s cut and another box set from the '90s.
I hear you're buying a theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Little Man record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cymande,
The Move,
The J.B.'s,
Drive Like Jehu,
Rahsaan Roland Kirk,
Smog,
Jeru the Damaja,
New York Dolls,
Gang of Four,
Joe Finger,
Schoolly D,
The Seeds,
Groovy Waters,
Drexciya,
Pylon,
Avey Tare,
Bobbi Humphrey,
Negative Approach,
In Retrospect,
Pussy Galore,
Red Lorry Yellow Lorry,
Idris Muhammad,
Symarip,
Gang Green,
Junior Murvin,
Glambeats Corp.,
Spandau Ballet,
Freddie Wadling,
The Monochrome Set,
Bobby Sherman,
The Sonics,
Black Flag,
Davy DMX,
London Community Gospel Choir,
Skriet,
The Peanut Butter Conspiracy,
Interpol,
The Vogues,
Dave Gahan,
Fluxion,
Rekid,
Gang Starr,
Don Cherry,
Bobby Byrd,
Radio Birdman,
James White and The Blacks,
Siglo XX,
The Evens,
Kango’s Stein Massive,
ABBA,
X-Ray Spex,
Sugar Minott,
Jerry Gold Smith,
The Zeros,
Rhythm & Sound,
Bobby Womack,
These Immortal Souls,
Graham Central Station,
Eddi Front,
10cc,
Nirvana, Nirvana, Nirvana, Nirvana.
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.