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 Canada and from Mumbai.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Toronto and Bologna.
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 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 Nile Rodgers 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 Susan Cadogan to the funk kids.
I played it at the Crocodile.
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 Thee Headcoats. All the underground hits.
All Technova tracks. I heard you have a vinyl of every The Walker Brothers record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Marcia Griffiths record.
I hear that you and your band have sold your marimba and bought a güiro.
I hear that you and your band have sold your güiro and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythm & Sound,
Half Japanese,
Tom Boy,
Alison Limerick,
The Trojans,
The Fall,
Wings,
Bauhaus,
Dorothy Ashby,
Stereo Dub,
Monks,
Youth Brigade,
The Golliwogs,
Sam Rivers,
Dave Gahan,
Pussy Galore,
Tears for Fears,
Electric Light Orchestra,
David Bowie,
Jandek,
Rakim,
Marc Almond,
Louis and Bebe Barron,
Gang Gang Dance,
Bill Wells,
Stockholm Monsters,
Gil Scott-Heron and Jamie xx,
Sister Nancy,
Lee Hazlewood,
Q and Not U,
Essential Logic,
Oblivians,
Bluetip,
Major Organ And The Adding Machine,
Kevin Saunderson,
Carl Craig,
Rahsaan Roland Kirk,
The Count Five,
Bad Manners,
MDC,
Minor Threat,
Byron Stingily,
The Real Kids,
JFA,
Crispian St. Peters,
Radiohead,
Eric Dolphy,
Intrusion,
Nik Kershaw,
Zero Boys,
Newcleus,
Ten City,
K-Klass,
Lebanon Hanover,
Justin Hinds & The Dominoes,
Eyeless In Gaza,
Kas Product,
John Lydon,
Bobby Byrd,
Heaven 17,
James White and The Blacks,
Ultimate Spinach,
The Cosmic Jokers,
Hardrive, Hardrive, Hardrive, Hardrive.
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.