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 Argentina and from Taipei.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Bologna and Manila.
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 synthesizer 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 Juan Atkins to the punk 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 Con Funk Shun. All the underground hits.
All The Velvet Underground tracks. I heard you have a vinyl of every Harry Pussy record on German import.
I heard that you have a white label of every seminal rock 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 snare and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Eyeless In Gaza record.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ornette Coleman,
Beasts of Bourbon,
Pole,
Camberwell Now,
Hoover,
Jandek,
H. Thieme,
Q and Not U,
The Dave Clark Five,
Ultimate Spinach,
Throbbing Gristle,
The United States of America,
Sound Behaviour,
Sällskapet,
The Selecter,
Bluetip,
The Gun Club,
Visionaries,LMNO, T- Love & Iriscience,
Sly & The Family Stone,
Susan Cadogan,
Desert Stars,
Donald Byrd,
Joensuu 1685,
Wighnomy Brothers & Robag Wruhme,
Ludus,
Skaos,
Pete Rock & C.L. Smooth,
Eve St. Jones,
Archie Shepp,
Ronnie Foster,
Agent Orange,
Unwound,
Ponytail,
Reagan Youth,
Amon Düül,
Depeche Mode,
Matthew Halsall,
Rowland S Howard / Lydia Lunch,
Selector Dub Narcotic,
Isaac Hayes,
The Offenders,
The Velvet Underground,
D'Angelo,
Bush Tetras,
The Modern Lovers,
Fort Wilson Riot,
Robert Hood,
World's Most,
Babytalk,
The Moody Blues,
Al Stewart,
Shoche,
Nils Olav,
Warsaw,
Nico,
The Electric Prunes,
New Order,
Faraquet,
Gil Scott Heron,
The Gories,
Derrick May, Derrick May, Derrick May, Derrick May.
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.