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 Bahamas and from Delhi.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Delhi and Bremen.
I'm losing my edge to the art-school Cairo 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the linndrum sounds with much patience.
I was there when Lou Reed 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 The Knickerbockers to the electroclash kids.
I played it at the 40 Watt.
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 Bill Near. All the underground hits.
All Matthew Bourne tracks. I heard you have a vinyl of every The Fuzztones 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 '70s.
I hear you're buying a mellotron and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Marvin Gaye record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marmalade,
Alison Limerick,
Q and Not U,
Fifty Foot Hose,
Essential Logic,
Motorama,
Josef K,
Peter & Gordon,
ABBA,
The Sisters of Mercy,
Jeru the Damaja,
Porter Ricks,
Lonnie Liston Smith,
Colin Newman,
The Kinks,
Popol Vuh,
Fugazi,
Soft Cell,
H. Thieme,
Jacques Brel,
Art Ensemble Of Chicago,
Unwound,
Stetsasonic,
Loose Ends,
Sight & Sound,
Lightning Bolt,
Throbbing Gristle,
Eli Mardock,
Suburban Knight,
Eve St. Jones,
Bauhaus,
Kayak,
The Beau Brummels,
Second Layer,
Orchestral Manoeuvres in the Dark,
The Trojans,
Mantronix,
the Normal,
Sällskapet,
Unrelated Segments,
Stereo Dub,
Sun Ra Arkestra,
This Heat,
The Monks,
D'Angelo,
Roger Hodgson,
The Modern Lovers,
Arcadia,
Pharoah Sanders,
Ultravox,
Harry Pussy,
Guru Guru,
Hashim,
Sixth Finger,
Rosa Yemen,
The Remains,
Gong,
Severed Heads,
Slick Rick,
June of 44, June of 44, June of 44, June of 44.
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.