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 Senegal and from Accra.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Seoul and Glasgow.
I'm losing my edge to the art-school Tokyo 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 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 David Bowie to the punk 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 Reuben Wilson. All the underground hits.
All Juan Atkins tracks. I heard you have a vinyl of every the Fania All-Stars 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 '70s cut and another box set from the '80s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Siouxsie and the Banshees record.
I hear that you and your band have sold your theremin and bought a snare.
I hear that you and your band have sold your snare and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grandmaster Flash and the Furious Five,
Barbara Tucker,
Parry Music,
Gregory Isaacs,
De La Soul & Jungle Brothers,
Babytalk,
Jacques Brel,
The Doobie Brothers,
Pylon,
Radio Birdman,
Nils Olav,
Amon Düül II,
Mary Jane Girls,
Bootsy's Rubber Band,
Aaron Thompson,
Popol Vuh,
Marc Almond,
Moby Grape,
Pharaoh Sanders and the Fire Engines,
Dawn Penn,
Soft Cell,
Fat Boys,
Magma,
The Count Five,
Icehouse,
Swans,
Boz Scaggs,
Sarah Menescal,
Avey Tare & Kría Brekkan,
Bill Wells,
Theoretical Girls,
Sonny Sharrock,
Guru Guru,
Bauhaus,
Wings,
Kerrie Biddell,
Yaz,
Lizzy Mercier Descloux,
Ituana,
Aural Exciters,
Richard Hell and the Voidoids,
ABC,
David Axelrod,
Janne Schatter,
Qualms,
Soul II Soul,
Sandy B,
Sad Lovers and Giants,
Thee Headcoats,
Isaac Hayes,
Lindisfarne,
Bizarre Inc.,
Goldenarms,
Fatback Band,
Bang On A Can,
Danielle Patucci,
Chrome,
the Association,
The Martian,
Alton Ellis,
KRS-One, KRS-One, KRS-One, KRS-One.
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.