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 Bulgaria and from Shanghai.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Tehran and Hong Kong.
I'm losing my edge to the art-school Portland 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 chamberlin sounds with much patience.
I was there when Michael McDonald 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 Rotary Connection to the crunk 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 The Names. All the underground hits.
All Darondo tracks. I heard you have a vinyl of every New York Dolls record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an organ and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Terror Squad Feat. Camron record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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 Moody Blues,
Brass Construction,
Pylon,
Anthony Braxton,
Susan Cadogan,
Frankie Knuckles,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Talk Talk,
Notorious Big And Bone Thugs,
Rakim,
Reagan Youth,
Dr. Dre and Snoop Doggy Dog,
Gian Franco Pienzio,
Con Funk Shun,
Harmonia,
Arthur Verocai,
Teenage Jesus and the Jerks,
Soulsonic Force,
The Toasters,
Pantytec,
Avey Tare's Slasher Flicks,
Neu!,
The Sound,
The Techniques,
Sugar Minott,
Mars,
Marcia Griffiths,
Swans,
Angels of Light & Akron/Family,
Dave Gahan,
Ohio Players,
Liliput,
FM Einheit,
The Stooges,
Albert Ayler,
Public Enemy,
The Leaves,
The Grass Roots,
Mad Mike,
The Human League,
Pete Rock & C.L. Smooth,
Funky Four + One,
Jeru the Damaja,
The Cramps,
Siouxsie and the Banshees,
Japan,
Roger Hodgson,
The Slackers,
Harpers Bizarre,
The Sonics,
Grey Daturas,
Roxette,
Yaz,
Magma,
John Lydon,
The Smoke,
Ponytail,
Lucky Dragons,
The United States of America,
The Busters,
Silicon Teens,
B.T. Express,
Leonard Cohen, Leonard Cohen, Leonard Cohen, Leonard Cohen.
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.