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 Fiji and from Salvador.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Stockholm and Milan.
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 1968 at the first Can practice in a loft in Cologne.
I was working on the synthesizer sounds with much patience.
I was there when Lou Reed 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 Crime to the electroclash kids.
I played it at the Crocodile.
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 Yellowson. All the underground hits.
All Lou Christie tracks. I heard you have a vinyl of every Black Moon record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Wighnomy Brothers & Robag Wruhme record.
I hear that you and your band have sold your sitar and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gregory Isaacs,
Juan Atkins,
T. Rex,
Gang Gang Dance,
Black Pus,
Saccharine Trust,
The Cowsills,
Mars,
Pharoah Sanders,
Yellowson,
Major Organ And The Adding Machine,
Deakin,
Junior Murvin,
Livin' Joy,
Lindisfarne,
Rahsaan Roland Kirk,
Roxette,
Thee Headcoats,
Quantec,
Nick Fraelich,
Sight & Sound,
The Fortunes,
Excepter,
Pet Shop Boys,
Crispian St. Peters,
Teenage Jesus and the Jerks,
Pole,
The Walker Brothers,
Interpol,
The Sound,
Easy Going,
DeepChord presents Echospace,
Mad Mike,
Eve St. Jones,
Girls At Our Best!,
Carl Craig,
Urselle,
Organ,
48th St. Collective,
Freddie Wadling,
Bobby Byrd,
Graham Central Station,
The Knickerbockers,
Hasil Adkins,
Amon Düül II,
Jacques Brel,
Eric B and Rakim,
The Barracudas,
Y Pants,
Morten Harket,
Janne Schatter,
Cheater Slicks,
Soul II Soul,
Magazine,
John Holt,
F. McDonald,
Unrelated Segments,
Marc Romboy vs. Booka Shade,
Groovy Waters,
June Days,
Wire,
Underground Resistance, Underground Resistance, Underground Resistance, Underground Resistance.
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.