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 Algeria and from Johannesburg.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Jakarta and New York.
I'm losing my edge to the art-school New York 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 chamberlin sounds with much patience.
I was there when Robert Palmer 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 Gian Franco Pienzio to the techno kids.
I played it at the Crocodile.
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 Erykah Badu. All the underground hits.
All Danielle Patucci tracks. I heard you have a vinyl of every Bobby Hutcherson record on German import.
I heard that you have a white label of every seminal crunk 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 synthesizer and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül II record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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 Jesus and Mary Chain,
Tomorrow,
Grey Daturas,
Mars,
Sad Lovers and Giants,
The Litter,
Big Daddy Kane,
Jeff Lynne,
Marcia Griffiths,
Intrusion,
Gregory Isaacs,
Black Flag,
Bluetip,
Country Joe & The Fish,
Johnny Clarke,
The Raincoats,
Robert Hood,
The Seeds,
Visage,
The Remains,
The Techniques,
Eli Mardock,
Mo-Dettes,
A Certain Ratio,
Soulsonic Force,
the Slits,
Kas Product,
Hot Snakes,
Terry Callier,
The Mojo Men,
Andrew Hill,
Harry Pussy,
Erykah Badu,
Black Sheep,
Soul Sonic Force,
Bill Near,
China Crisis,
Ultra Naté,
The Associates,
Roxette,
Kenny Larkin,
David McCallum,
Rowland S Howard / Lydia Lunch,
The Velvet Underground,
Pylon,
Manfred Mann's Earth Band,
The Count Five,
Television Personalities,
Kings Of Tomorrow,
Lou Reed & John Cale,
Cameo,
Neu!,
Crispian St. Peters,
Hashim,
John Foxx,
Delta 5,
Kango’s Stein Massive,
Bootsy Collins,
Los Fastidios,
Lower 48,
Qualms,
Bob Dylan,
Robert Görl, Robert Görl, Robert Görl, Robert Görl.
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.