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 Togo and from Paris.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Manchester and Stockholm.
I'm losing my edge to the art-school Shanghai 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 oboe sounds with much patience.
I was there when Lou Reed 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 Soft Cell to the punk kids.
I played it at the Hacienda.
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 John Holt. All the underground hits.
All Judy Mowatt tracks. I heard you have a vinyl of every Soul II Soul 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 '80s.
I hear you're buying a harpsichord and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Quantec record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Adolescents,
The Names,
Niagra,
Symarip,
Agitation Free,
Skarface,
The Moody Blues,
Prince Buster,
The Star Department,
the Slits,
Skriet,
MDC,
The Smiths,
Al Stewart,
Inner City,
Arcadia,
the Bar-Kays,
Stereo Dub,
Wally Richardson,
Dennis Brown,
Louis and Bebe Barron,
Glambeats Corp.,
Thinking Fellers Union Local 282,
The Residents,
Rhythm & Sound,
The Zeros,
Das Ding,
Ken Boothe,
Oppenheimer Analysis,
The Pretty Things,
The Raincoats,
Nick Fraelich,
Cabaret Voltaire,
Roy Ayers Ubiquity,
The Stooges,
Black Moon,
Basic Channel,
Rod Modell,
Gichy Dan,
The Peanut Butter Conspiracy,
Malaria!,
The Fire Engines,
Chris Corsano,
Art Ensemble Of Chicago,
The United States of America,
Röyhkä ja Rättö ja Lehtisalo,
Freddie Wadling,
Soft Machine,
Urselle,
New Age Steppers,
Grey Daturas,
Tom Boy,
Eric B and Rakim,
Amazonics,
Ossler,
Laurel Aitken,
Kurtis Blow,
Terry Callier,
Bang On A Can,
Suburban Knight,
Soulsonic Force,
Stiv Bators,
Orchestral Manoeuvres in the Dark,
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.