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 Kyrgyzstan and from Portland.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Hong Kong and Copenhagen.
I'm losing my edge to the art-school Woodstock 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 linndrum 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 Schoolly D to the disco kids.
I played it at the Troubador.
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 Kevin Saunderson. All the underground hits.
All Gian Franco Pienzio tracks. I heard you have a vinyl of every Traffic Nightmare 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 '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and a guitar 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 chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Five Americans,
Donny Hathaway,
Heaven 17,
Agent Orange,
Susan Cadogan,
Super Lover Cee & Casanova Rud,
Minny Pops,
Jeff Mills,
Lindisfarne,
The Chocolate Watch Band,
U.S. Maple,
Kenny Larkin,
Wolf Eyes,
Newcleus,
Main Source,
Con Funk Shun,
EPMD,
The Slits,
Theoretical Girls,
Harpers Bizarre,
The Blues Magoos,
Bluetip,
Dennis Brown,
JFA,
DJ Style,
Bill Near,
Sight & Sound,
Bob Dylan,
Flamin' Groovies,
Pylon,
Isaac Hayes,
Iggy Pop,
Tomorrow,
Joe Finger,
The Fugs,
Glambeats Corp.,
Kerrie Biddell,
Angry Samoans,
Wally Richardson,
Terrestrial Tones,
Siouxsie and the Banshees,
Scientists,
Royal Trux,
Morten Harket,
the Germs,
Stockholm Monsters,
Joyce Sims,
Altered Images,
Goldenarms,
Tropical Tobacco,
Basic Channel,
Los Fastidios,
De La Soul & Jungle Brothers,
Wasted Youth,
Marc Almond,
Mo-Dettes,
DeepChord presents Echospace,
The Slackers,
The Beau Brummels,
Albert Ayler,
Fat Boys, Fat Boys, Fat Boys, Fat Boys.
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.