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 Marshall Islands and from Lille.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Lyon and Lagos.
I'm losing my edge to the art-school Philadelphia 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 synthesizer 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 Funkadelic to the dance kids.
I played it at Cafe Wha.
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 Hasil Adkins. All the underground hits.
All Radio Birdman tracks. I heard you have a vinyl of every Arthur Verocai record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an organ and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Minor Threat record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skarface,
Mantronix,
CMW,
The Zeros,
Brick,
K-Klass,
Goldenarms,
Moby Grape,
Sam Rivers,
Unwound,
Terror Squad Feat. Camron,
L. Decosne,
The New Christs,
Letta Mbulu,
Porter Ricks,
Hashim,
Intrusion,
Lyres,
Colin Newman,
Gang Starr,
Bang on a Can All-Stars,
The Kinks,
June of 44,
Man Parrish,
Mars,
Kurtis Blow,
Robert Görl,
The Wake,
Crispian St. Peters,
The Tremeloes,
Boogie Down Productions,
Ultravox,
John Cale,
Sonny Sharrock,
Interpol,
John Coltrane,
Ralphi Rosario,
Radiohead,
Make Up,
Jeff Lynne,
Pussy Galore,
Japan,
Bronski Beat,
The Martian,
The Divine Comedy,
Shuggie Otis,
The Neon Judgement,
The Gap Band,
Prince Buster,
The Sound,
Kool Moe Dee,
Wighnomy Brothers & Robag Wruhme,
A Certain Ratio,
Mad Mike,
The Cure,
Banda Bassotti,
Amon Düül,
Magma,
Deutsch Amerikanische Freundschaft,
Radiopuhelimet,
D'Angelo,
Curtis Mayfield,
Anthony Braxton, Anthony Braxton, Anthony Braxton, Anthony Braxton.
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.