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 Costa Rica and from Portland.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1978.
I'm losing my edge.
To all the kids in London and Shanghai.
I'm losing my edge to the art-school Woodstock 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 harpsichord 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 Pere Ubu to the rap kids.
I played it at the Roxy.
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 Chocolate Watch Band. All the underground hits.
All Prince Buster tracks. I heard you have a vinyl of every X-102 record on German import.
I heard that you have a white label of every seminal jazz 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 a harpsichord and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Neil Young record.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DNA,
Eric B and Rakim,
World's Most,
Bronski Beat,
Aural Exciters,
In Retrospect,
E-Dancer,
Ultramagnetic MC's,
Maleditus Sound,
Scott Walker,
Carl Craig,
Niagra,
Flash Fearless,
The Fall,
The Selecter,
Jacob Miller,
Saccharine Trust,
CMW,
The Associates,
Liliput,
Glenn Branca,
Joey Negro,
Wally Richardson,
The Durutti Column,
Anakelly,
Underground Resistance,
The Kinks,
Animal Collective,
Rod Modell,
Newcleus,
The Cowsills,
The Mojo Men,
London Community Gospel Choir,
Crispian St. Peters,
Rotary Connection,
Sugar Minott,
Grauzone,
New Age Steppers,
Lizzy Mercier Descloux,
Henry Cow,
Deakin,
Parry Music,
Swans,
Mo-Dettes,
Black Moon,
Slick Rick,
The Fire Engines,
Oneida,
Ornette Coleman,
Ronan,
Joensuu 1685,
Captain Beefheart & His Magic Band,
Buzzcocks,
Marmalade,
Jesper Dahlbäck,
The Doors,
Avey Tare's Slasher Flicks,
Liaisons Dangereuses,
Chrome,
Stiv Bators,
The West Coast Pop Art Experimental Band,
Basic Channel,
Zapp,
Scientists,
These Immortal Souls, These Immortal Souls, These Immortal Souls, These Immortal Souls.
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.