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 Mauritius and from Bremen.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Lille and New York.
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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the güiro sounds with much patience.
I was there when Tom Verlaine 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 The Detroit Cobras to the crunk kids.
I played it at Cafe Wha.
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 Kauko Röyhkä ja Narttu. All the underground hits.
All The Moleskins tracks. I heard you have a vinyl of every Gil Scott-Heron and Jamie xx record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a linndrum and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Thee Headcoats record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter and Kerry,
The Music Machine,
Oneida,
Eurythmics,
Average White Band,
Junior Murvin,
Ossler,
PIL,
Danielle Patucci,
Slick Rick,
Gang of Four,
The Red Krayola,
Oppenheimer Analysis,
Black Sheep,
The Skatalites,
Hashim,
Pussy Galore,
Ronan,
Lalann,
Arthur Verocai,
Black Bananas,
Scott Walker,
The Moody Blues,
Michelle Simonal,
Smog,
One Last Wish,
The Five Americans,
The Chocolate Watch Band,
Roger Hodgson,
F. McDonald,
Scientists,
Blancmange,
Schoolly D,
Thompson Twins,
Ronnie Foster,
Nick Cave & The Bad Seeds,
The Kinks,
Excepter,
Mad Mike,
Siglo XX,
the Fania All-Stars,
Liaisons Dangereuses,
Lightning Bolt,
Yellowson,
The Mojo Men,
Matthew Bourne,
Swans,
H. Thieme,
Fat Boys,
CMW,
Warren Ellis,
The Offenders,
Make Up,
Susan Cadogan,
The Velvet Underground,
Supertramp,
Television,
Sam Rivers,
X-102,
Audionom,
Spandau Ballet,
Shoche, Shoche, Shoche, Shoche.
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.