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 Argentina and from Copenhagen.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1963 to 1972.
I'm losing my edge.
To all the kids in London and Madrid.
I'm losing my edge to the art-school Edmonton 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 güiro sounds with much patience.
I was there when Captain Beefheart 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 Mad Mike to the grime 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 Faust. All the underground hits.
All Robert Görl tracks. I heard you have a vinyl of every Vaughan Mason & Crew 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 '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Liliput record.
I hear that you and your band have sold your harpsichord and bought a guitar.
I hear that you and your band have sold your guitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fire Engines,
Supertramp,
Andrew Ashong & Theo Parrish,
Negative Approach,
Teenage Jesus and the Jerks,
Smog,
Man Eating Sloth,
Susan Cadogan,
Yellowson,
Jacques Brel,
The Young Rascals,
Black Sheep,
Blake Baxter,
The Durutti Column,
Dawn Penn,
Sun City Girls,
Eric Dolphy,
Major Organ And The Adding Machine,
Dark Day,
Deadbeat,
The Evens,
Aural Exciters,
Symarip,
Soul Sonic Force,
The Blackbyrds,
Sonny Sharrock,
Chris & Cosey,
Gang of Four,
Soulsonic Force,
La Düsseldorf,
Minutemen,
UT,
The Barracudas,
Orchestral Manoeuvres in the Dark,
ABC,
Fifty Foot Hose,
Oppenheimer Analysis,
Traffic Nightmare,
Marc Almond,
Country Joe & The Fish,
Todd Terry,
Richard Hell and the Voidoids,
Infiniti,
the Association,
Piero Umiliani,
Sugar Minott,
Sexual Harrassment,
Harmonia,
The Star Department,
Bill Wells,
The Birthday Party,
Robert Wyatt,
The Move,
Magazine,
Anthony Braxton,
Charles Mingus,
The Toasters,
Can,
Sun Ra Arkestra,
AZ,
Intrusion, Intrusion, Intrusion, Intrusion.
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.