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 Zimbabwe 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 1961 to 1975.
I'm losing my edge.
To all the kids in Tehran and Taipei.
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 organ sounds with much patience.
I was there when Michael McDonald 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 Scion to the dance kids.
I played it at the 40 Watt.
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 Dorothy Ashby. All the underground hits.
All Lungfish tracks. I heard you have a vinyl of every The Gladiators record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Liaisons Dangereuses record.
I hear that you and your band have sold your sitar and bought an oboe.
I hear that you and your band have sold your oboe and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Icehouse,
Loose Ends,
Audionom,
Swans,
Eve St. Jones,
Lou Christie,
Saccharine Trust,
The Detroit Cobras,
Brass Construction,
The Modern Lovers,
Flamin' Groovies,
Ornette Coleman,
The Young Rascals,
Röyhkä ja Rättö ja Lehtisalo,
Harry Pussy,
The Count Five,
The Dead C,
The Fire Engines,
Cabaret Voltaire,
Cybotron,
Ash Ra Tempel,
The Seeds,
Vladislav Delay,
Black Bananas,
The Stooges,
Half Japanese,
Crooked Eye,
The Flesh Eaters,
Black Pus,
Siglo XX,
The Residents,
Jimmy McGriff,
Deutsch Amerikanische Freundschaft,
Henry Cow,
Mars,
The Fall,
Angry Samoans,
Whodini,
Maleditus Sound,
Infiniti,
Scan 7,
Arab on Radar,
T. Rex,
Junior Murvin,
Pantaleimon,
Marcia Griffiths,
Silicon Teens,
The Mojo Men,
The Red Krayola,
Siouxsie and the Banshees,
Tears for Fears,
Wire,
Janne Schatter,
Black Moon,
Sun City Girls,
Bobbi Humphrey,
Arcadia,
Andrew Ashong & Theo Parrish,
Todd Rundgren,
Boogie Down Productions,
Grandmaster Flash and the Furious Five,
Delta 5,
Section 25, Section 25, Section 25, Section 25.
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.