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 Kuwait and from Woodstock.
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 1967 to 1973.
I'm losing my edge.
To all the kids in New York and Glasgow.
I'm losing my edge to the art-school Sao Paulo 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 snare 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 The Move to the electroclash 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 Fluxion. All the underground hits.
All the Association tracks. I heard you have a vinyl of every Kaleidoscope record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a sitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Cameo record.
I hear that you and your band have sold your clarinet and bought a snare.
I hear that you and your band have sold your snare and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Be Bop Deluxe,
FM Einheit,
Bobbi Humphrey,
John Cale,
Avey Tare's Slasher Flicks,
cv313,
Can,
Das Ding,
Amazonics,
Fort Wilson Riot,
Mars,
Boredoms,
Jacques Brel,
The Blues Magoos,
The Chocolate Watch Band,
Nas,
Jesper Dahlback,
Angels of Light & Akron/Family,
The Grass Roots,
Selector Dub Narcotic,
Dead Boys,
Lalann,
Moebius,
Unrelated Segments,
Stetsasonic,
Cecil Taylor,
Symarip,
Susan Cadogan,
The Busters,
The Blackbyrds,
The Gories,
The Offenders,
a-ha,
Minor Threat,
New Age Steppers,
Matthew Halsall,
Ronan,
Pet Shop Boys,
In Retrospect,
Marvin Gaye,
Faust,
Harry Pussy,
Desert Stars,
Jeru the Damaja,
Bootsy Collins,
The American Breed,
Stereo Dub,
Heaven 17,
The West Coast Pop Art Experimental Band,
Tim Buckley,
Brand Nubian,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Crash Course in Science,
Major Organ And The Adding Machine,
Mandrill,
The Wake,
Sam Rivers,
Idris Muhammad,
Neu!,
Arab on Radar,
Roy Ayers Ubiquity,
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.