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 Egypt and from Bremen.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Glasgow and Madrid.
I'm losing my edge to the art-school Manchester 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 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 Angry Samoans to the grunge kids.
I played it at the Astoria.
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 Evens. All the underground hits.
All Cymande tracks. I heard you have a vinyl of every Vainqueur 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 '80s cut and another box set from the '90s.
I hear you're buying a harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Röyhkä ja Rättö ja Lehtisalo record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ponytail,
Zapp,
Amon Düül II,
Swans,
The Electric Prunes,
Frankie Knuckles,
Lou Christie,
Erykah Badu,
Soft Machine,
Spandau Ballet,
The Barracudas,
Tres Demented,
Ultra Naté,
Barclay James Harvest,
Warren Ellis,
Harpers Bizarre,
The Sound,
ABC,
Dave Gahan,
LL Cool J,
The Moleskins,
Aural Exciters,
Rahsaan Roland Kirk,
Radio Birdman,
Man Eating Sloth,
The Jesus and Mary Chain,
Kevin Saunderson,
Symarip,
Eli Mardock,
Loose Ends,
Deepchord,
Bob Dylan,
Masters at Work,
Porter Ricks,
Bobbi Humphrey,
The Invisible,
Stereo Dub,
Excepter,
The Angels of Light,
Orchestral Manoeuvres in the Dark,
Freddie Wadling,
World's Most,
Larry & the Blue Notes,
The Golliwogs,
Urselle,
Ituana,
The Sisters of Mercy,
Echo & the Bunnymen,
Bootsy Collins,
Nation of Ulysses,
One Last Wish,
The J.B.'s,
Alison Limerick,
Heaven 17,
Althea and Donna,
Barry Ungar,
June Days,
Arthur Verocai,
Scrapy,
Art Ensemble Of Chicago,
John Foxx,
UT,
The Dead C, The Dead C, The Dead C, The Dead C.
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.