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 Djibouti and from Lille.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Manchester and Jakarta.
I'm losing my edge to the art-school Beijing 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 1968 at the first Can practice in a loft in Cologne.
I was working on the sitar sounds with much patience.
I was there when Tom Verlaine 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 John Coltrane to the rap 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 Traffic Nightmare. All the underground hits.
All Monks tracks. I heard you have a vinyl of every Heavy D & The Boyz 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 '80s cut and another box set from the '90s.
I hear you're buying an oboe and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Blancmange record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Human League,
The Gladiators,
The American Breed,
Hasil Adkins,
Red Lorry Yellow Lorry,
Wally Richardson,
Rahsaan Roland Kirk,
New Order,
Jawbox,
Spandau Ballet,
Inner City,
Kas Product,
Ice-T,
Basic Channel,
Quadrant,
Lindisfarne,
The Toasters,
Sandy B,
D'Angelo,
Joe Finger,
Electric Light Orchestra,
Marc Almond,
Sticky Fingaz feat. Raekwon,
The Star Department,
X-102,
The Shadows of Knight,
Cluster,
Isaac Hayes,
Alison Limerick,
Matthew Halsall,
U.S. Maple,
The West Coast Pop Art Experimental Band,
the Association,
Arthur Verocai,
Colin Newman,
Terror Squad Feat. Camron,
Lightning Bolt,
Surgeon,
Warsaw,
Albert Ayler,
Morten Harket,
Subhumans,
kango's stein massive,
Popol Vuh,
Graham Central Station,
Unrelated Segments,
Tres Demented,
The Durutti Column,
Organ,
Junior Murvin,
Quantec,
Judy Mowatt,
Heaven 17,
Don Cherry,
Thee Headcoats,
Arcadia,
Derrick Morgan,
Be Bop Deluxe,
The Angels of Light,
the Sonics,
Mandrill,
Fugazi,
Skarface, Skarface, Skarface, Skarface.
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.