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 Stockholm.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1969 to 1977.
I'm losing my edge.
To all the kids in Mexico City and Jakarta.
I'm losing my edge to the art-school Milan 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 chamberlin 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 Public Enemy to the grunge kids.
I played it at Trash.
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 The Associates. All the underground hits.
All The Shadows of Knight tracks. I heard you have a vinyl of every Deakin record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Glenn Branca record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy Collins,
Spandau Ballet,
Swans,
The West Coast Pop Art Experimental Band,
Con Funk Shun,
Country Joe & The Fish,
Black Bananas,
The Vogues,
Kauko Röyhkä ja Narttu,
Section 25,
The Red Krayola,
Scott Walker,
Alton Ellis,
The Names,
The Gories,
Eric Copeland,
Shoche,
Liaisons Dangereuses,
Fad Gadget,
Gang Gang Dance,
Dark Day,
Sister Nancy,
Guru Guru,
Pylon,
Deakin,
Angry Samoans,
Malaria!,
Lalann,
Fear,
Gang Green,
Junior Murvin,
Sound Behaviour,
Gabor Szabo,
Lee Hazlewood,
Manfred Mann's Earth Band,
Smog,
Hoover,
Ice-T,
The Zeros,
Althea and Donna,
A Flock of Seagulls,
The Young Rascals,
Selector Dub Narcotic,
Roy Ayers Ubiquity,
Slave,
Deutsch Amerikanische Freundschaft,
Stockholm Monsters,
Leonard Cohen,
Dead Boys,
Crispian St. Peters,
Anthony Braxton,
David Axelrod,
Bluetip,
Clear Light,
Ituana,
Wire,
Harry Pussy,
DJ Sneak,
Quantec,
Max Romeo,
Yaz,
Gary Puckett & The Union Gap,
Henry Cow,
Richard Hell and the Voidoids, Richard Hell and the Voidoids, Richard Hell and the Voidoids, Richard Hell and the Voidoids.
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.