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 Malta and from Delhi.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Stockholm and Seoul.
I'm losing my edge to the art-school London 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 808 sounds with much patience.
I was there when Holger Czukay 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 Quadrant to the electroclash 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 Quando Quango. All the underground hits.
All Crispian St. Peters tracks. I heard you have a vinyl of every Sexual Harrassment record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Cybotron record.
I hear that you and your band have sold your organ and bought a marimba.
I hear that you and your band have sold your marimba and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Graham Central Station,
Public Enemy,
Eurythmics,
Andrew Hill,
Porter Ricks,
Ornette Coleman,
Big Daddy Kane,
The American Breed,
Livin' Joy,
Ossler,
London Community Gospel Choir,
Qualms,
Subhumans,
Young Marble Giants,
Japan,
Suburban Knight,
Ralphi Rosario,
Slave,
Major Organ And The Adding Machine,
Sandy B,
Radiopuhelimet,
Charles Mingus,
Colin Newman,
Jerry's Kids,
La Düsseldorf,
Arthur Verocai,
Barry Ungar,
Alison Limerick,
Ludus,
The Durutti Column,
New York Dolls,
Swans,
John Foxx,
Crispy Ambulance,
48th St. Collective,
Delon & Dalcan,
Franke,
Joe Smooth,
DeepChord presents Echospace,
China Crisis,
Grey Daturas,
Jeru the Damaja,
Roxette,
The Kinks,
Roy Ayers Ubiquity,
The Birthday Party,
The Mighty Diamonds,
The Sonics,
Chris & Cosey,
Johnny Clarke,
Orchestral Manoeuvres in the Dark,
Girls At Our Best!,
Notorious Big And Bone Thugs,
Section 25,
Hashim,
The Young Rascals,
Glenn Branca,
Jeff Mills,
Interpol,
The Real Kids,
Jandek,
Radio Birdman,
Ajijia Myrayebe, Ajijia Myrayebe, Ajijia Myrayebe, Ajijia Myrayebe.
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.