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 Malta and from Beijing.
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 1972.
I'm losing my edge.
To all the kids in Columbus and Edmonton.
I'm losing my edge to the art-school New York 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 theremin sounds with much patience.
I was there when Robert Palmer 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 Barry Ungar to the crunk kids.
I played it at the Spitz.
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 The Tremeloes. All the underground hits.
All Main Source tracks. I heard you have a vinyl of every Gong 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 '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Can record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arthur Verocai,
The Fuzztones,
Glambeats Corp.,
Rapeman,
Cymande,
Liaisons Dangereuses,
Art Ensemble Of Chicago,
Bobby Sherman,
Oblivians,
Lyres,
Cluster,
Sarah Menescal,
Moby Grape,
CMW,
The Dirtbombs,
X-Ray Spex,
Crash Course in Science,
The Vogues,
Slave,
The Techniques,
Brand Nubian,
Thompson Twins,
Malaria!,
Jeff Mills,
Godley & Creme,
Alice Coltrane,
The Jesus and Mary Chain,
Erykah Badu,
the Association,
Zero Boys,
Groovy Waters,
Ajijia Myrayebe,
Vainqueur,
Unrelated Segments,
Interpol,
Avey Tare,
The Human League,
The Tremeloes,
Spoonie Gee,
Brothers Johnson,
The Litter,
The Electric Prunes,
Sällskapet,
The Flesh Eaters,
Can,
The Blackbyrds,
Tommy Roe,
Louis and Bebe Barron,
Pet Shop Boys,
Yusef Lateef,
Ultra Naté,
Gil Scott-Heron & Brian Jackson,
Technova,
Marc Almond,
Strawberry Alarm Clock,
Avey Tare's Slasher Flicks,
The Cowsills,
The Slits,
Cal Tjader,
The Beau Brummels,
Marine Girls, Marine Girls, Marine Girls, Marine Girls.
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.