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 Lagos.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Bremen and Woodstock.
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 1968 at the first Can practice in a loft in Cologne.
I was working on the spring reverb sounds with much patience.
I was there when Michael McDonald 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 Doors to the grime kids.
I played it at the Spitz.
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 Section 25. All the underground hits.
All Unwound tracks. I heard you have a vinyl of every Lyres 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 '80s.
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 World's Most record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cecil Taylor,
Charles Mingus,
Tommy Roe,
Pharaoh Sanders and the Fire Engines,
Supertramp,
Stockholm Monsters,
Excepter,
Letta Mbulu,
Prince Buster,
Radio Birdman,
Junior Murvin,
Hot Snakes,
Royal Trux,
Rotary Connection,
The Gories,
Skarface,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Cal Tjader,
Eden Ahbez,
Faraquet,
Can,
Ituana,
Matthew Halsall,
Radiopuhelimet,
Porter Ricks,
Beasts of Bourbon,
Saccharine Trust,
Wighnomy Brothers & Robag Wruhme,
Leonard Cohen,
Harpers Bizarre,
Animal Collective,
Kerri Chandler,
the Fania All-Stars,
Henry Cow,
The Raincoats,
Soft Machine,
Ronnie Foster,
UT,
Underground Resistance,
Neil Young,
Bad Manners,
The Men They Couldn't Hang,
Goldenarms,
Larry & the Blue Notes,
The Zeros,
Spandau Ballet,
Bluetip,
Wolf Eyes,
The Move,
Janne Schatter,
Nirvana,
Vainqueur,
Pierre Henry,
Ronan,
Marcia Griffiths,
Sandy B,
Terry Callier,
Black Bananas,
Hardrive,
Whodini,
Derrick May,
Richard Hell and the Voidoids,
D'Angelo,
Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire.
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.