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 Poland and from Bologna.
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 1975.
I'm losing my edge.
To all the kids in Mexico City and Paris.
I'm losing my edge to the art-school Copenhagen 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 synthesizer sounds with much patience.
I was there when Holger Czukay 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 Pylon to the dance kids.
I played it at the Roxy.
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 Deutsch Amerikanische Freundschaft. All the underground hits.
All Severed Heads tracks. I heard you have a vinyl of every Maurizio record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Toasters record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Christie,
Sight & Sound,
FM Einheit,
Gichy Dan,
Big Daddy Kane,
The Velvet Underground,
Pole,
Dorothy Ashby,
Grauzone,
Major Organ And The Adding Machine,
Wings,
Television Personalities,
Toni Rubio,
The Tremeloes,
The Moleskins,
Sällskapet,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Massinfluence,
Brass Construction,
The Doobie Brothers,
Monks,
The Fall,
Jacob Miller,
Neil Young & Crazy Horse,
Roy Ayers,
Bang On A Can,
Animal Collective,
Amon Düül,
Fat Boys,
Model 500,
The Cowsills,
Roxette,
The Barracudas,
Glambeats Corp.,
Lakeside,
Crime,
Patti Smith,
Loose Ends,
Byron Stingily,
The Slits,
Gang Gang Dance,
Excepter,
48th St. Collective,
Thee Headcoats,
Kenny Larkin,
The Star Department,
Gong,
Q and Not U,
U.S. Maple,
Sun City Girls,
London Community Gospel Choir,
Sam Rivers,
Fatback Band,
Yaz,
Wolf Eyes,
Kas Product,
The Martian,
Bootsy Collins,
Super Lover Cee & Casanova Rud,
The Cramps,
This Heat,
The Dirtbombs,
Nils Olav, Nils Olav, Nils Olav, Nils Olav.
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.