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 Barbados and from Johannesburg.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Tokyo and Taipei.
I'm losing my edge to the art-school Manchester 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 arpeggiator sounds with much patience.
I was there when David Bowie 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 Eddi Front to the rap kids.
I played it at the Astoria.
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 Idris Muhammad tracks. I heard you have a vinyl of every Monolake record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a marimba and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Searchers record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Urselle,
Gregory Isaacs,
MC5,
Rhythim Is Rhythim,
Carl Craig,
Kool G Rap & DJ Polo,
Ornette Coleman,
Kurtis Blow,
Gong,
Alice Coltrane,
Organ,
Drive Like Jehu,
Joey Negro,
Public Enemy,
Main Source,
Dual Sessions,
Joe Smooth,
The Divine Comedy,
Joe Finger,
John Lydon,
Sugar Minott,
Ludus,
Nation of Ulysses,
DJ Sneak,
Tropical Tobacco,
Sarah Menescal,
Television Personalities,
Sad Lovers and Giants,
Bill Near,
Can,
T.S.O.L.,
Eric Dolphy,
Joensuu 1685,
Monolake,
The Beau Brummels,
Jeff Mills,
Blake Baxter,
Thee Headcoats,
Josef K,
Agent Orange,
Grey Daturas,
Andrew Ashong & Theo Parrish,
Dawn Penn,
Idris Muhammad,
Letta Mbulu,
The Peanut Butter Conspiracy,
The Angels of Light,
Susan Cadogan,
Piero Umiliani,
Manfred Mann's Earth Band,
Fat Boys,
The Raincoats,
Underground Resistance,
Judy Mowatt,
Robert Hood,
Camberwell Now,
Throbbing Gristle,
the Bar-Kays,
Moebius,
The Mighty Diamonds,
Joy Division,
Beasts of Bourbon,
The Fugs, The Fugs, The Fugs, The Fugs.
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.