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 Congo and from Winnipeg.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Winnipeg and Houston.
I'm losing my edge to the art-school Houston 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 linndrum sounds with much patience.
I was there when Holger Czukay 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 Robert Hood to the dance 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 Dead Boys. All the underground hits.
All Max Romeo tracks. I heard you have a vinyl of every Half Japanese record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a 808 and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Slackers record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Banda Bassotti,
Pole,
The Golliwogs,
Suburban Knight,
The Evens,
8 Eyed Spy,
Blossom Toes,
Massinfluence,
Sight & Sound,
Altered Images,
OOIOO,
Bad Manners,
John Cale,
Al Stewart,
Camberwell Now,
Duran Duran,
Infiniti,
Swans,
Peter Gordon & Love of Life Orchestra,
Bronski Beat,
Oneida,
Black Flag,
Dual Sessions,
Carl Craig,
Judy Mowatt,
Sonny Sharrock,
Supertramp,
The Red Krayola,
Hasil Adkins,
Aswad,
Arab on Radar,
Bobbi Humphrey,
The Sound,
John Lydon,
Stetsasonic,
The Dave Clark Five,
Marshall Jefferson,
The Fuzztones,
D'Angelo,
Bauhaus,
Minor Threat,
The Selecter,
Robert Görl,
Andrew Ashong & Theo Parrish,
Lower 48,
Dark Day,
Avey Tare's Slasher Flicks,
Jesper Dahlback,
Pylon,
Soft Machine,
10cc,
Grandmaster Flash,
The Move,
Art Ensemble Of Chicago,
Ash Ra Tempel,
Jeru the Damaja,
Skaos,
Wings,
The Star Department,
The Alarm Clocks,
Main Source,
Josef K, Josef K, Josef K, Josef K.
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.