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 Netherlands and from Copenhagen.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Halifax and London.
I'm losing my edge to the art-school Halifax 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 marimba sounds with much patience.
I was there when Nile Rodgers 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 Scratch Acid to the techno 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 The Golliwogs. All the underground hits.
All Joensuu 1685 tracks. I heard you have a vinyl of every Robert Görl record on German import.
I heard that you have a white label of every seminal punk 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 an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Dorothy Ashby record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fugazi,
Cluster,
Soft Machine,
Fifty Foot Hose,
Red Lorry Yellow Lorry,
Sugar Minott,
Nirvana,
Glambeats Corp.,
Morten Harket,
U.S. Maple,
Danielle Patucci,
Sound Behaviour,
Magma,
The Human League,
Aswad,
Brass Construction,
Lizzy Mercier Descloux,
Pete Rock & C.L. Smooth,
The Five Americans,
The Misunderstood,
Shuggie Otis,
Ash Ra Tempel,
10cc,
D'Angelo,
Cymande,
Saccharine Trust,
Qualms,
Captain Beefheart & His Magic Band,
Porter Ricks,
Janne Schatter,
Jawbox,
Sister Nancy,
MC5,
Connie Case,
Larry & the Blue Notes,
Adolescents,
Boz Scaggs,
The Gladiators,
The Fugs,
One Last Wish,
Teenage Jesus and the Jerks,
Joey Negro,
June of 44,
ABC,
The Remains,
Maleditus Sound,
Bill Near,
Absolute Body Control,
Nils Olav,
Jacques Brel,
CMW,
Nico,
Second Layer,
The Smoke,
Alison Limerick,
Traffic Nightmare,
Parry Music,
Babytalk,
Matthew Halsall,
Judy Mowatt,
Avey Tare,
The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band.
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.