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 Tonga and from Manila.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Bologna and Columbus.
I'm losing my edge to the art-school Halifax 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 sitar sounds with much patience.
I was there when Robert Palmer 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 Faraquet to the jazz 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 James Chance & The Contortions. All the underground hits.
All Camouflage tracks. I heard you have a vinyl of every The Doors record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Star Department record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Surgeon,
Siouxsie and the Banshees,
Captain Beefheart & His Magic Band,
Silicon Teens,
Todd Terry,
Television Personalities,
Gil Scott Heron,
The Motions,
10cc,
Suicide,
Hoover,
The Doors,
Circle Jerks,
The Selecter,
Gastr Del Sol,
Lou Reed,
Curtis Mayfield,
Sällskapet,
Dead Boys,
Bill Near,
Bluetip,
Funky Four + One,
Robert Görl,
Organ,
Chris & Cosey,
Judy Mowatt,
Vainqueur,
D'Angelo,
David Bowie,
Archie Shepp,
Camron Feat. Memphis Bleek And Beenie Seigel,
Notorious BIG live in Amsterdam,
Kings Of Tomorrow,
The Grass Roots,
Khruangbin,
Desert Stars,
Flash Fearless,
The Birthday Party,
Cheater Slicks,
the Association,
The Dead C,
Wighnomy Brothers & Robag Wruhme,
Drive Like Jehu,
Arcadia,
the Bar-Kays,
These Immortal Souls,
Eric B and Rakim,
Franke,
The Smoke,
F. McDonald,
Johnny Osbourne,
ABBA,
Crash Course in Science,
Loose Ends,
48th St. Collective,
The Golliwogs,
Delta 5,
Outsiders,
James Chance & The Contortions,
Roy Ayers Ubiquity,
Amazonics,
Pere Ubu,
Ossler, Ossler, Ossler, Ossler.
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.