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 Israel and from Glasgow.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Lille and New York.
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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the oboe sounds with much patience.
I was there when Donald Fagen 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 Rhythim Is Rhythim to the disco kids.
I played it at Trash.
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 The Fire Engines. All the underground hits.
All Dorothy Ashby tracks. I heard you have a vinyl of every John Cale record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a clarinet and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Japan record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
These Immortal Souls,
Moby Grape,
Rhythim Is Rhythim,
Bill Near,
Eli Mardock,
In Retrospect,
Ajijia Myrayebe,
PIL,
The Blackbyrds,
Yaz,
Can,
the Soft Cell,
the Germs,
Boogie Down Productions,
Nik Kershaw,
Rowland S Howard / Lydia Lunch,
The United States of America,
Soft Machine,
Make Up,
T.S.O.L.,
the Bar-Kays,
Livin' Joy,
Surgeon,
The Techniques,
Ultra Naté,
Tom Boy,
Josef K,
Al Stewart,
Jeru the Damaja,
Aswad,
Urselle,
Guru Guru,
Index,
Lindisfarne,
Spandau Ballet,
Aaron Thompson,
Bobby Sherman,
Notorious BIG live in Amsterdam,
F. McDonald,
Oneida,
Girls At Our Best!,
The Walker Brothers,
Mr. Review,
Goldenarms,
New Age Steppers,
Minny Pops,
Icehouse,
The Evens,
Pete Rock & C.L. Smooth,
The Pop Group,
MDC,
Bauhaus,
Mandrill,
Drive Like Jehu,
Lafayette Afro Rock Band,
Sun City Girls,
The Mojo Men,
Gastr Del Sol,
Gian Franco Pienzio,
Donald Byrd,
Vaughan Mason & Crew,
Procol Harum,
Ornette Coleman,
DeepChord presents Echospace, DeepChord presents Echospace, DeepChord presents Echospace, DeepChord presents Echospace.
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.