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 Morocco and from Winnipeg.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1968 to 1976.
I'm losing my edge.
To all the kids in London and Seoul.
I'm losing my edge to the art-school Glasgow 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 Tom Verlaine 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 the Slits to the grunge 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 Avey Tare. All the underground hits.
All Cluster tracks. I heard you have a vinyl of every Stockholm Monsters 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 '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a the Swans record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Infiniti,
Soft Cell,
Gang of Four,
The Invisible,
Sandy B,
Throbbing Gristle,
Mission of Burma,
Severed Heads,
Josef K,
Rahsaan Roland Kirk,
Sound Behaviour,
Eyeless In Gaza,
Fat Boys,
Amazonics,
Peter Gordon & Love of Life Orchestra,
James White and The Blacks,
Derrick May,
Young Marble Giants,
Barrington Levy,
Pantytec,
Cluster,
Avey Tare & Kría Brekkan,
X-Ray Spex,
The American Breed,
Gong,
Barry Ungar,
Terrestrial Tones,
Dennis Brown,
Mo-Dettes,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Loose Ends,
Average White Band,
Junior Murvin,
Godley & Creme,
Groovy Waters,
Andrew Hill,
The Durutti Column,
The Gun Club,
Scratch Acid,
Drive Like Jehu,
Electric Prunes,
Unwound,
Notorious BIG live in Amsterdam,
the Slits,
Rekid,
Leonard Cohen,
Ornette Coleman,
cv313,
Aswad,
K-Klass,
Ossler,
The Kinks,
Shoche,
Magazine,
Boogie Down Productions,
Rhythim Is Rhythim,
Crime,
Fear,
Banda Bassotti,
John Cale,
The Associates, The Associates, The Associates, The Associates.
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.