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 Maldives and from Columbus.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Lille and Portland.
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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the oboe 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 Bootsy's Rubber Band to the crunk kids.
I played it at the Hacienda.
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 Index. All the underground hits.
All Cecil Taylor tracks. I heard you have a vinyl of every Marvin Gaye record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a sitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Guru Guru,
T. Rex,
Fear,
Sight & Sound,
Ronnie Foster,
Black Sheep,
The Blackbyrds,
Kaleidoscope,
kango's stein massive,
Marine Girls,
Kango’s Stein Massive,
Fatback Band,
Delon & Dalcan,
Jimmy McGriff,
John Lydon,
Lizzy Mercier Descloux,
Laurel Aitken,
It's A Beautiful Day,
Grandmaster Flash,
Siglo XX,
D'Angelo,
Television Personalities,
Piero Umiliani,
The Sound,
Aural Exciters,
Swell Maps,
Gil Scott Heron,
Isaac Hayes,
Deutsch Amerikanische Freundschaft,
Porter Ricks,
Ralphi Rosario,
Juan Atkins,
Johnny Osbourne,
New York Dolls,
Donald Byrd,
Pierre Henry,
Shoche,
Neil Young & Crazy Horse,
Maleditus Sound,
X-Ray Spex,
Wings,
DJ Sneak,
Underground Resistance,
Magazine,
Mad Mike,
The Cure,
Roger Hodgson,
The Dave Clark Five,
Stereo Dub,
Bang On A Can,
Frankie Knuckles,
Symarip,
the Human League,
Drive Like Jehu,
The Techniques,
Yusef Lateef,
Aswad,
Boogie Down Productions,
Sun Ra,
New Age Steppers,
The Offenders,
Tommy Roe,
The Zeros,
the Sonics, the Sonics, the Sonics, the Sonics.
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.