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 Bolivia and from Stockholm.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Calgary and Tehran.
I'm losing my edge to the art-school Winnipeg 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 sitar 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 The Invisible to the dance 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 Deakin. All the underground hits.
All Das Ding tracks. I heard you have a vinyl of every China Crisis 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 an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Crime record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kings Of Tomorrow,
Suburban Knight,
The Alarm Clocks,
Freddie Wadling,
Major Organ And The Adding Machine,
Man Eating Sloth,
Maurizio,
Blossom Toes,
Ohio Players,
Soul Sonic Force,
Ken Boothe,
Tropical Tobacco,
Yusef Lateef,
The Peanut Butter Conspiracy,
Q65,
a-ha,
B.T. Express,
Vainqueur,
Jeff Mills,
Todd Rundgren,
Donald Byrd,
Bobby Womack,
Dorothy Ashby,
the Soft Cell,
Nas,
Funkadelic,
Dead Boys,
Brand Nubian,
Kurtis Blow,
the Swans,
Index,
Arcadia,
KRS-One,
LL Cool J,
Alice Coltrane,
Piero Umiliani,
Livin' Joy,
Michelle Simonal,
Sparks,
Fifty Foot Hose,
Banda Bassotti,
Leonard Cohen,
T. Rex,
Funky Four + One,
Lebanon Hanover,
The Monochrome Set,
Joensuu 1685,
Gil Scott-Heron & Brian Jackson,
Urselle,
Bill Wells,
Arab on Radar,
Max Romeo,
Kas Product,
Steve Hackett,
Strawberry Alarm Clock,
The Shadows of Knight,
Absolute Body Control,
Cecil Taylor,
David Bowie,
Gabor Szabo,
The West Coast Pop Art Experimental Band,
The Chocolate Watch Band, The Chocolate Watch Band, The Chocolate Watch Band, The Chocolate Watch Band.
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.