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 Ireland and from Manchester.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Bologna and Mexico City.
I'm losing my edge to the art-school Tokyo 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 spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Quando Quango to the rap kids.
I played it at the Troubador.
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 Supertramp. All the underground hits.
All Pussy Galore tracks. I heard you have a vinyl of every Marcia Griffiths 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 '80s cut and another box set from the '70s.
I hear you're buying a güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Cameo record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Agent Orange,
Andrew Hill,
Flash Fearless,
Roxette,
Negative Approach,
Bobby Byrd,
Slave,
Visage,
Ultramagnetic MC's,
Bobby Sherman,
Reagan Youth,
U.S. Maple,
Nas,
Thompson Twins,
Godley & Creme,
Soft Machine,
Orchestral Manoeuvres in the Dark,
The Mojo Men,
Susan Cadogan,
Tommy Roe,
The Peanut Butter Conspiracy,
Eric Copeland,
Duran Duran,
LL Cool J,
Kings Of Tomorrow,
Cecil Taylor,
The Litter,
Fat Boys,
Crispy Ambulance,
Niagra,
Connie Case,
Donny Hathaway,
The Walker Brothers,
Terry Callier,
Isaac Hayes,
Bootsy Collins,
Khruangbin,
Notorious Big And Bone Thugs,
Aural Exciters,
Ohio Players,
Pantaleimon,
Lalo Schifrin,
Agitation Free,
Dennis Brown,
Notorious BIG live in Amsterdam,
Joensuu 1685,
The Grass Roots,
Rites of Spring,
Gabor Szabo,
Stetsasonic,
Yusef Lateef,
Icehouse,
Boz Scaggs,
Severed Heads,
Desert Stars,
Warsaw,
Brick,
KRS-One,
Kenny Larkin,
Quadrant,
Lou Reed & Metallica,
Motorama,
The Slackers,
Yaz,
It's A Beautiful Day, It's A Beautiful Day, It's A Beautiful Day, It's A Beautiful Day.
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.