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 South Africa and from Beijing.
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 Copenhagen and Beijing.
I'm losing my edge to the art-school Spokane 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 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 Pole to the dance 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 Jesper Dahlbäck. All the underground hits.
All Soft Machine tracks. I heard you have a vinyl of every Bobby Sherman record on German import.
I heard that you have a white label of every seminal jazz 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 theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a La Düsseldorf record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nirvana,
Judy Mowatt,
Bush Tetras,
Black Pus,
Sun Ra,
Soul Sonic Force,
Flipper,
Nils Olav,
Godley & Creme,
Angry Samoans,
John Foxx,
Nick Cave & The Bad Seeds,
Clear Light,
Lafayette Afro Rock Band,
De La Soul & Jungle Brothers,
Lyres,
Gerry Rafferty,
Reuben Wilson,
Pulsallama,
Barbara Tucker,
Sad Lovers and Giants,
Glenn Branca,
Leonard Cohen,
Negative Approach,
Metal Thangz,
Joyce Sims,
Trumans Water,
Faraquet,
Delta 5,
Heavy D & The Boyz,
Blancmange,
Eurythmics,
Mission of Burma,
Kango’s Stein Massive,
Yazoo,
Sandy B,
James Chance & The Contortions,
Notorious BIG live in Amsterdam,
Sonny Sharrock,
X-101,
Joe Finger,
Rufus Thomas,
UT,
Bluetip,
Dual Sessions,
Wire,
Pantytec,
The Alarm Clocks,
Patti Smith,
Nik Kershaw,
Moby Grape,
Sugar Minott,
Banda Bassotti,
The Star Department,
Von Mondo,
Barclay James Harvest,
The Mighty Diamonds,
Sound Behaviour,
Khruangbin,
The Slackers, The Slackers, The Slackers, The Slackers.
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.