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 Micronesia and from Tokyo.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Philadelphia and Lyon.
I'm losing my edge to the art-school Paris 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 clarinet sounds with much patience.
I was there when Lou Reed 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 Orchestral Manoeuvres in the Dark to the funk kids.
I played it at Trash.
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 Johnny Clarke. All the underground hits.
All Altered Images tracks. I heard you have a vinyl of every Faust record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a mellotron and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Kango’s Stein Massive record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Searchers,
Byron Stingily,
Gil Scott Heron,
Nico,
Reagan Youth,
Black Moon,
Visage,
Henry Cow,
Kaleidoscope,
Susan Cadogan,
Louis and Bebe Barron,
Dark Day,
Slave,
Saccharine Trust,
Cecil Taylor,
The Barracudas,
the Slits,
John Foxx,
Harpers Bizarre,
Thee Headcoats,
The Peanut Butter Conspiracy,
Crash Course in Science,
Erasure,
Teenage Jesus and the Jerks,
Lou Reed,
Technova,
Au Pairs,
Grandmaster Flash and the Furious Five,
David Bowie,
KRS-One,
James Chance & The Contortions,
Zapp,
The Litter,
Delon & Dalcan,
Roy Ayers,
Eli Mardock,
Cameo,
The Star Department,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
48th St. Collective,
ABC,
Joe Finger,
Agent Orange,
Bobby Womack,
The Walker Brothers,
Eddi Front,
Black Bananas,
The Gladiators,
The Sound,
Excepter,
Derrick Morgan,
The Dave Clark Five,
Malaria!,
Eric B and Rakim,
Dead Boys,
Flipper,
Das Ding,
Swell Maps,
Parry Music,
The Associates, The Associates, The Associates, The Associates.
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.