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 Mali and from Spokane.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Lyon and Mexico City.
I'm losing my edge to the art-school Tehran 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 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 Blake Baxter to the jazz kids.
I played it at the Troubador.
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 Offenders. All the underground hits.
All Grandmaster Flash tracks. I heard you have a vinyl of every Scan 7 record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a rhodes and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Sarah Menescal record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DJ Style,
the Association,
Silicon Teens,
Suicide,
Soft Cell,
The Offenders,
Buzzcocks,
Mandrill,
The Fire Engines,
The Detroit Cobras,
Porter Ricks,
Electric Light Orchestra,
The Mummies,
The Searchers,
The Martian,
the Slits,
The Durutti Column,
Lucky Dragons,
Patti Smith,
Pantaleimon,
Cybotron,
Negative Approach,
Yazoo,
Drive Like Jehu,
Danielle Patucci,
Terrestrial Tones,
Neil Young & Crazy Horse,
Echo & the Bunnymen,
Sun City Girls,
The Remains,
Yaz,
Tomorrow,
Television Personalities,
The Residents,
Teenage Jesus and the Jerks,
Ultimate Spinach,
Rekid,
Black Bananas,
Jerry's Kids,
Ohio Players,
Joy Division,
The Smoke,
Eric Dolphy,
The Smiths,
Severed Heads,
Quando Quango,
Althea and Donna,
Kevin Saunderson,
the Soft Cell,
Agent Orange,
Throbbing Gristle,
Heavy D & The Boyz,
Eden Ahbez,
Lizzy Mercier Descloux,
Supertramp,
Grey Daturas,
The Invisible,
Glambeats Corp.,
Deutsch Amerikanische Freundschaft,
The Techniques,
Amon Düül, Amon Düül, Amon Düül, Amon Düül.
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.