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 Canada and from Madrid.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Manila and Winnipeg.
I'm losing my edge to the art-school Sao Paulo 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 organ sounds with much patience.
I was there when Holger Czukay 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 Terry Callier to the jazz kids.
I played it at the Astoria.
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 Tom Boy. All the underground hits.
All The Remains tracks. I heard you have a vinyl of every Susan Cadogan record on German import.
I heard that you have a white label of every seminal dance 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 synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Major Organ And The Adding Machine record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter Gordon & Love of Life Orchestra,
The Slits,
Kauko Röyhkä ja Narttu,
Byron Stingily,
Pagans,
Marine Girls,
The Moody Blues,
Be Bop Deluxe,
Charles Mingus,
The Happenings,
The Vogues,
Dead Boys,
The American Breed,
Stockholm Monsters,
Electric Prunes,
The Searchers,
The Flesh Eaters,
John Lydon,
Procol Harum,
The Mojo Men,
World's Most,
Brothers Johnson,
Connie Case,
Arab on Radar,
Saccharine Trust,
Notorious BIG live in Amsterdam,
Deakin,
Laurel Aitken,
Panda Bear,
Delon & Dalcan,
Marvin Gaye,
Scion,
The Young Rascals,
Neil Young,
Barrington Levy,
Moebius,
The Blues Magoos,
Intrusion,
MC5,
Aswad,
Little Man,
Main Source,
Lindisfarne,
The Fire Engines,
Simply Red,
Neu!,
The Moleskins,
Deadbeat,
Stiv Bators,
The Star Department,
Crash Course in Science,
Louis and Bebe Barron,
Robert Hood,
Whodini,
Spoonie Gee,
D'Angelo,
Brass Construction,
Jacob Miller,
Niagra,
Albert Ayler,
Alton Ellis, Alton Ellis, Alton Ellis, Alton Ellis.
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.