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 Morocco and from Glasgow.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Lille and Seoul.
I'm losing my edge to the art-school Spokane 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the synthesizer sounds with much patience.
I was there when David Bowie 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 Throbbing Gristle to the dance 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 Stockholm Monsters. All the underground hits.
All Silicon Teens tracks. I heard you have a vinyl of every Mr. Review 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 '50s cut and another box set from the '70s.
I hear you're buying a theremin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Scrapy record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Seeds,
Judy Mowatt,
Thee Headcoats,
It's A Beautiful Day,
Siouxsie and the Banshees,
Cameo,
Essential Logic,
Alton Ellis,
Vainqueur,
Duran Duran,
Sam Rivers,
Procol Harum,
The Count Five,
Jacques Brel,
Grey Daturas,
Sixth Finger,
Hoover,
Todd Terry,
Animal Collective,
Bootsy's Rubber Band,
Pierre Henry,
Anakelly,
John Coltrane,
Funky Four + One,
Gang Gang Dance,
Rowland S Howard / Lydia Lunch,
AZ,
Suburban Knight,
Bill Near,
Eddi Front,
Joe Finger,
Rhythim Is Rhythim,
the Bar-Kays,
Rosa Yemen,
Marcia Griffiths,
The Toasters,
The Dave Clark Five,
Mars,
Monks,
Von Mondo,
The Durutti Column,
Porter Ricks,
Joensuu 1685,
Bang On A Can,
Kurtis Blow,
Bobby Sherman,
Public Enemy,
Amon Düül II,
Boz Scaggs,
The Smoke,
Thinking Fellers Union Local 282,
The Cowsills,
Johnny Clarke,
Goldenarms,
James White and The Blacks,
Graham Central Station,
The Mojo Men,
Marc Almond,
Vladislav Delay,
Camouflage, Camouflage, Camouflage, Camouflage.
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.