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 Tunisia and from Delhi.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Winnipeg and Johannesburg.
I'm losing my edge to the art-school Spokane 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 1968 at the first Can practice in a loft in Cologne.
I was working on the clarinet sounds with much patience.
I was there when Donald Fagen 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 John Lydon to the dance kids.
I played it at the Roxy.
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 Fatback Band. All the underground hits.
All Nico tracks. I heard you have a vinyl of every Lizzy Mercier Descloux record on German import.
I heard that you have a white label of every seminal punk 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 oboe and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Sarah Menescal record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soulsonic Force,
Minor Threat,
Brass Construction,
Derrick Morgan,
Captain Beefheart & His Magic Band,
Bill Near,
Sonic Youth,
the Fania All-Stars,
The Royal Family And The Poor,
The Jesus and Mary Chain,
Soft Cell,
Be Bop Deluxe,
Jeff Lynne,
Minny Pops,
KRS-One,
Erasure,
Kool Moe Dee,
Second Layer,
Ultravox,
Sarah Menescal,
Red Lorry Yellow Lorry,
World's Most,
New Order,
Rahsaan Roland Kirk,
Angels of Light & Akron/Family,
Roy Ayers Ubiquity,
Cluster,
Boogie Down Productions,
Quadrant,
The Slackers,
Sunsets and Hearts,
the Sonics,
Model 500,
Audionom,
Peter & Gordon,
The Offenders,
Adolescents,
Nirvana,
Bill Wells,
R.M.O.,
The Gun Club,
the Slits,
Parry Music,
James White and The Blacks,
Reagan Youth,
The J.B.'s,
Pulsallama,
Al Stewart,
Oneida,
the Soft Cell,
Barrington Levy,
Archie Shepp,
Hasil Adkins,
Amon Düül II,
Soft Machine,
Bauhaus,
The Leaves,
The Shadows of Knight,
Liaisons Dangereuses,
Drive Like Jehu,
Can,
the Bar-Kays,
Junior Murvin,
Aural Exciters, Aural Exciters, Aural Exciters, Aural Exciters.
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.