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 Italy and from Mexico City.
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 1971.
I'm losing my edge.
To all the kids in Woodstock and Taipei.
I'm losing my edge to the art-school London 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 güiro 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 Piero Umiliani to the jazz 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 Davy DMX. All the underground hits.
All David Bowie tracks. I heard you have a vinyl of every The Offenders record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Moby Grape 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?
Kayak,
Panda Bear,
Tom Boy,
The Fire Engines,
Monks,
The Fugs,
Selector Dub Narcotic,
L. Decosne,
Drive Like Jehu,
Scan 7,
Essential Logic,
Drexciya,
Joyce Sims,
Dual Sessions,
Eddi Front,
Gil Scott-Heron & Brian Jackson,
Soft Machine,
MDC,
Tres Demented,
E-Dancer,
Crime,
Mr. Review,
Kerrie Biddell,
Al Stewart,
EPMD,
Joensuu 1685,
Flamin' Groovies,
Crispy Ambulance,
Siouxsie and the Banshees,
Scrapy,
Outsiders,
Patti Smith,
Guru Guru,
The Gories,
Wolf Eyes,
Minny Pops,
Siglo XX,
Juan Atkins,
Kings Of Tomorrow,
The Misunderstood,
Franke,
Scratch Acid,
Interpol,
X-102,
Aaron Thompson,
Gil Scott-Heron and Jamie xx,
Minor Threat,
Audionom,
Dead Boys,
Derrick May,
Lucky Dragons,
The Durutti Column,
The Human League,
Mandrill,
Amon Düül II,
Dawn Penn,
Peter and Kerry,
Lizzy Mercier Descloux,
Simply Red,
Throbbing Gristle,
The New Christs, The New Christs, The New Christs, The New Christs.
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.