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 Malta and from Paris.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 Taipei 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the linndrum sounds with much patience.
I was there when Tom Verlaine 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 Soft Cell to the techno kids.
I played it at the Spitz.
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 Television Personalities. All the underground hits.
All The Fugs tracks. I heard you have a vinyl of every The Angels of Light record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a marimba and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Deadbeat 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?
Davy DMX,
Organ,
Eve St. Jones,
Liliput,
The Skatalites,
Minor Threat,
Scott Walker,
The Chocolate Watch Band,
Gil Scott-Heron & Brian Jackson,
Zero Boys,
Ponytail,
Young Marble Giants,
Fort Wilson Riot,
Public Image Ltd.,
The Slackers,
Freddie Wadling,
The Searchers,
Throbbing Gristle,
Neil Young & Crazy Horse,
Matthew Halsall,
The Modern Lovers,
The Index,
Wire,
Chris & Cosey,
Todd Terry,
Danielle Patucci,
Warren Ellis,
Dual Sessions,
Tubeway Army,
Banda Bassotti,
Duran Duran,
The Doobie Brothers,
Byron Stingily,
10cc,
Symarip,
the Fania All-Stars,
The Monks,
Niagra,
Louis and Bebe Barron,
Gil Scott Heron,
A Certain Ratio,
Saccharine Trust,
Excepter,
Make Up,
Television,
Radio Birdman,
Suburban Knight,
Angels of Light & Akron/Family,
The Music Machine,
The Real Kids,
Röyhkä ja Rättö ja Lehtisalo,
Kerrie Biddell,
These Immortal Souls,
Sonic Youth,
Absolute Body Control,
Masters at Work,
June Days,
Anakelly,
DJ Sneak,
Warsaw,
Joe Smooth, Joe Smooth, Joe Smooth, Joe Smooth.
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.