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 Lebanon and from London.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Philadelphia and Columbus.
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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the guitar sounds with much patience.
I was there when Holger Czukay 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 Scott Walker to the rap kids.
I played it at Cafe Wha.
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 Fatback Band. All the underground hits.
All Hasil Adkins tracks. I heard you have a vinyl of every Deakin record on German import.
I heard that you have a white label of every seminal dance 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 linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Move record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wolf Eyes,
Tears for Fears,
48th St. Collective,
Throbbing Gristle,
R.M.O.,
Arcadia,
the Human League,
Sam Rivers,
The United States of America,
Ash Ra Tempel,
Royal Trux,
The Remains,
Alton Ellis,
Al Stewart,
The Electric Prunes,
Joe Finger,
Lou Reed & Metallica,
Moss Icon,
Erasure,
Alice Coltrane,
Lower 48,
Supertramp,
cv313,
Camberwell Now,
Sixth Finger,
Richard Hell and the Voidoids,
Arab on Radar,
Newcleus,
Tom Boy,
John Coltrane,
Mo-Dettes,
A Flock of Seagulls,
The Star Department,
Agitation Free,
Motorama,
Inner City,
Von Mondo,
Ultimate Spinach,
Fugazi,
The Fugs,
The Sisters of Mercy,
Glambeats Corp.,
Wire,
Eric Copeland,
Cecil Taylor,
the Association,
Slave,
Clear Light,
Circle Jerks,
Bang On A Can,
Fat Boys,
MDC,
Röyhkä ja Rättö ja Lehtisalo,
Brass Construction,
Arthur Verocai,
Q and Not U,
Nik Kershaw,
The Monochrome Set,
Larry & the Blue Notes,
Sarah Menescal,
Audionom, Audionom, Audionom, Audionom.
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.