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 Equatorial Guinea and from Beijing.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Calgary and Shanghai.
I'm losing my edge to the art-school Houston 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 clarinet 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 Brick to the electroclash 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 Sister Nancy. All the underground hits.
All Rhythm & Sound tracks. I heard you have a vinyl of every The Kinks record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an oboe and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Beasts of Bourbon record.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Colin Newman,
Bill Wells,
Scott Walker,
Saccharine Trust,
Angels of Light & Akron/Family,
FM Einheit,
Audionom,
ABC,
The Knickerbockers,
Essential Logic,
Graham Central Station,
Technova,
Terry Callier,
The Doobie Brothers,
Bobbi Humphrey,
Soft Cell,
Mission of Burma,
Icehouse,
Lou Reed & Metallica,
L. Decosne,
Rhythm & Sound,
Cluster,
Donald Byrd,
Cameo,
Heavy D & The Boyz,
Freddie Wadling,
E-Dancer,
Black Pus,
Letta Mbulu,
Barclay James Harvest,
Roxy Music,
Subhumans,
Von Mondo,
Gang Gang Dance,
Alice Coltrane,
Super Lover Cee & Casanova Rud,
the Normal,
Sound Behaviour,
UT,
Blake Baxter,
The Busters,
Unrelated Segments,
Sun City Girls,
The Slackers,
OOIOO,
The Fall,
Avey Tare,
Jawbox,
Crash Course in Science,
The Walker Brothers,
Cal Tjader,
The Fuzztones,
Wighnomy Brothers & Robag Wruhme,
Slick Rick,
Arab on Radar,
Eric Copeland,
World's Most,
The Music Machine,
Fluxion,
The Gladiators,
Don Cherry,
Derrick May, Derrick May, Derrick May, Derrick May.
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.