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 Dominican Republic 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 1966 to 1972.
I'm losing my edge.
To all the kids in Halifax and Portland.
I'm losing my edge to the art-school Stockholm 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 arpeggiator sounds with much patience.
I was there when Nile Rodgers 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 Doors to the rock kids.
I played it at the Hacienda.
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 Walker Brothers. All the underground hits.
All Ohio Players tracks. I heard you have a vinyl of every Altered Images 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 '80s cut and another box set from the '80s.
I hear you're buying a sitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Monochrome Set record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nico,
Nick Fraelich,
Q65,
FM Einheit,
Wally Richardson,
Lucky Dragons,
The Human League,
Model 500,
Ultramagnetic MC's,
Lungfish,
Rahsaan Roland Kirk,
Ornette Coleman,
David Axelrod,
Deakin,
Banda Bassotti,
Mandrill,
Eyeless In Gaza,
The West Coast Pop Art Experimental Band,
Erykah Badu,
Y Pants,
Arab on Radar,
Deutsch Amerikanische Freundschaft,
Sticky Fingaz feat. Raekwon,
Terry Callier,
The Motions,
Kauko Röyhkä ja Narttu,
Lee Hazlewood,
This Heat,
Robert Görl,
DNA,
One Last Wish,
Throbbing Gristle,
Audionom,
Man Parrish,
Chris Corsano,
Bobbi Humphrey,
Roy Ayers,
Television Personalities,
Roy Ayers Ubiquity,
Quando Quango,
The Detroit Cobras,
Unwound,
The Last Poets,
Letta Mbulu,
Dawn Penn,
Public Enemy,
Lindisfarne,
Brass Construction,
DeepChord presents Echospace,
Hoover,
Roxette,
X-101,
the Normal,
Black Bananas,
The Associates,
Heaven 17,
The Doobie Brothers,
The Moody Blues,
Idris Muhammad,
a-ha,
Girls At Our Best!,
Todd Terry, Todd Terry, Todd Terry, Todd Terry.
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.