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 Gabon and from Stockholm.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Woodstock and Accra.
I'm losing my edge to the art-school Manila 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 synthesizer sounds with much patience.
I was there when Nile Rodgers 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 It's A Beautiful Day to the disco 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 R.M.O.. All the underground hits.
All Gil Scott-Heron and Jamie xx tracks. I heard you have a vinyl of every Hot Snakes record on German import.
I heard that you have a white label of every seminal disco 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 guitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Nick Cave & The Bad Seeds record.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Count Five,
Joy Division,
The Cure,
Rakim,
T.S.O.L.,
Agent Orange,
Faust,
Iggy Pop,
The Velvet Underground,
The Mojo Men,
Procol Harum,
The Doobie Brothers,
Matthew Bourne,
The Techniques,
Half Japanese,
Rekid,
Andrew Hill,
Max Romeo,
Bobby Sherman,
Robert Hood,
Sunsets and Hearts,
Scientists,
The Remains,
Echospace,
Electric Light Orchestra,
Gabor Szabo,
Scratch Acid,
Jesper Dahlback,
Sonny Sharrock,
Heavy D & The Boyz,
Ken Boothe,
Fifty Foot Hose,
Wally Richardson,
The Young Rascals,
Whodini,
Popol Vuh,
Lower 48,
Joey Negro,
Cameo,
The Shadows of Knight,
H. Thieme,
Frankie Knuckles,
Section 25,
Gang Starr,
John Lydon,
The Pretty Things,
Reuben Wilson,
Ralphi Rosario,
Lightning Bolt,
Parry Music,
Country Teasers,
Spoonie Gee,
Siglo XX,
Nico,
the Bar-Kays,
Kas Product,
Suicide,
Sexual Harrassment,
Alison Limerick,
Crooked Eye,
Porter Ricks,
EPMD, EPMD, EPMD, EPMD.
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.