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 Saudi Arabia and from Lyon.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Bologna and Edmonton.
I'm losing my edge to the art-school Salvador 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 theremin sounds with much patience.
I was there when Robert Palmer 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 Susan Cadogan 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 Lungfish. All the underground hits.
All Spoonie Gee tracks. I heard you have a vinyl of every Todd Terry record on German import.
I heard that you have a white label of every seminal punk 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 marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Charles Mingus record.
I hear that you and your band have sold your marimba and bought a sitar.
I hear that you and your band have sold your sitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brick,
Lou Reed & John Cale,
Harpers Bizarre,
Tom Boy,
Barclay James Harvest,
The J.B.'s,
Lafayette Afro Rock Band,
Piero Umiliani,
K-Klass,
Black Moon,
Ronan,
Avey Tare,
The Standells,
Pierre Henry,
Soulsonic Force,
Subhumans,
Grandmaster Flash,
The Slits,
The Red Krayola,
Liaisons Dangereuses,
Skriet,
Anakelly,
Vainqueur,
Warsaw,
The Associates,
Depeche Mode,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Excepter,
Nico,
The Beau Brummels,
Deakin,
Kango’s Stein Massive,
The Fortunes,
Lucky Dragons,
Accadde A,
8 Eyed Spy,
Essential Logic,
Ornette Coleman,
Pere Ubu,
Lou Christie,
Mars,
Hot Snakes,
Moby Grape,
cv313,
Rosa Yemen,
Audionom,
Sparks,
Jeru the Damaja,
Bootsy's Rubber Band,
The Slackers,
the Soft Cell,
Dawn Penn,
Gerry Rafferty,
Suicide,
Bang On A Can,
The Sound,
Ice-T,
Crispian St. Peters,
Clear Light,
Public Enemy,
Joey Negro,
Sandy B,
Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis.
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.