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 Ireland and from Lille.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Stockholm and Madrid.
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 rhodes 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 Rod Modell to the rock 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 Jesper Dahlback. All the underground hits.
All Scan 7 tracks. I heard you have a vinyl of every Ronnie Foster 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 '90s.
I hear you're buying a mellotron and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a FM Einheit record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Doors,
Marcia Griffiths,
Arthur Verocai,
ABBA,
The Names,
Ice-T,
Banda Bassotti,
Sarah Menescal,
Peter & Gordon,
Quando Quango,
The Beau Brummels,
Lyres,
The Durutti Column,
Freddie Wadling,
Fear,
Barclay James Harvest,
One Last Wish,
Gregory Isaacs,
Model 500,
Black Bananas,
The Pop Group,
Sly & The Family Stone,
Index,
Tomorrow,
The Cramps,
Kool G Rap & DJ Polo,
Larry & the Blue Notes,
Althea and Donna,
B.T. Express,
Pierre Henry,
Au Pairs,
Alton Ellis,
Gil Scott-Heron and Jamie xx,
The Offenders,
Terry Callier,
Gil Scott-Heron & Brian Jackson,
Aloha Tigers,
Aswad,
The Shadows of Knight,
Television,
Dawn Penn,
Sixth Finger,
The Fugs,
Suburban Knight,
The Walker Brothers,
The Star Department,
KRS-One,
Laurel Aitken,
Jerry's Kids,
Urselle,
UT,
Shuggie Otis,
Art Ensemble Of Chicago,
Sex Pistols,
Underground Resistance,
The Music Machine,
Kool Moe Dee,
The Chocolate Watch Band,
Tropical Tobacco,
Panda Bear,
Kauko Röyhkä ja Narttu,
Kango’s Stein Massive, Kango’s Stein Massive, Kango’s Stein Massive, Kango’s Stein Massive.
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.