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 Togo and from Winnipeg.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Lille and Jakarta.
I'm losing my edge to the art-school Toronto 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 synthesizer sounds with much patience.
I was there when Tom Verlaine 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 Funkadelic to the crunk kids.
I played it at the 40 Watt.
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 Model 500. All the underground hits.
All Röyhkä ja Rättö ja Lehtisalo tracks. I heard you have a vinyl of every Moby Grape record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a snare and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Alice Coltrane record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amon Düül II,
Negative Approach,
Ice-T,
Sunsets and Hearts,
Max Romeo,
Oppenheimer Analysis,
U.S. Maple,
Swans,
Matthew Halsall,
Wire,
The Buckinghams,
Quadrant,
Delta 5,
Von Mondo,
Laurel Aitken,
Black Sheep,
Oneida,
Arthur Verocai,
Chrome,
Fela Kuti,
a-ha,
Danielle Patucci,
Eli Mardock,
Johnny Osbourne,
PIL,
Andrew Ashong & Theo Parrish,
Cal Tjader,
Shuggie Otis,
Wighnomy Brothers & Robag Wruhme,
Eurythmics,
Marmalade,
The Star Department,
Cluster,
The Mummies,
Ornette Coleman,
Rites of Spring,
Anthony Braxton,
Yaz,
Wasted Youth,
Rhythm & Sound,
Barry Ungar,
Porter Ricks,
John Foxx,
The Alarm Clocks,
Agent Orange,
Bronski Beat,
Chris Corsano,
Bob Dylan,
D'Angelo,
The Martian,
Nils Olav,
The Victims,
Crooked Eye,
Peter & Gordon,
EPMD,
Nick Fraelich,
Gichy Dan,
Bobby Byrd,
Barrington Levy,
Neu!,
Little Man,
Junior Murvin,
Fat Boys,
Janne Schatter, Janne Schatter, Janne Schatter, Janne Schatter.
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.