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 Mozambique and from Tokyo.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Glasgow and Toronto.
I'm losing my edge to the art-school Jakarta 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 Derrick Morgan to the disco kids.
I played it at the Spitz.
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 Hardrive. All the underground hits.
All Derrick Morgan tracks. I heard you have a vinyl of every Mandrill record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a James White and The Blacks record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Desert Stars,
Ludus,
Lafayette Afro Rock Band,
Glenn Branca,
Kango’s Stein Massive,
Orchestral Manoeuvres in the Dark,
Lou Reed,
The Grass Roots,
Siouxsie and the Banshees,
The Men They Couldn't Hang,
Mr. Review,
Sun Ra,
Public Enemy,
Cecil Taylor,
Bill Wells,
FM Einheit,
Fort Wilson Riot,
Johnny Clarke,
Eden Ahbez,
Magma,
Average White Band,
Jeff Mills,
Circle Jerks,
Josef K,
Kool G Rap & DJ Polo,
Cheater Slicks,
London Community Gospel Choir,
Amon Düül II,
Nation of Ulysses,
Crooked Eye,
The Fortunes,
Rhythm & Sound,
the Normal,
The Wake,
Make Up,
Scientists,
Liliput,
The Trojans,
Lalann,
Dave Gahan,
Quando Quango,
Arthur Verocai,
The Tremeloes,
Tubeway Army,
Scott Walker,
Gang Starr,
Half Japanese,
Matthew Bourne,
Essential Logic,
Young Marble Giants,
10cc,
Alton Ellis,
Jerry's Kids,
Reuben Wilson,
MC5,
Manfred Mann's Earth Band,
UT,
D'Angelo,
Agitation Free,
Patti Smith,
Robert Hood,
Alison Limerick,
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.