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 Micronesia and from New York.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1979.
I'm losing my edge.
To all the kids in Columbus and Edmonton.
I'm losing my edge to the art-school Philadelphia 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the snare 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 It's A Beautiful Day to the techno kids.
I played it at the Astoria.
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 Heavy D & The Boyz. All the underground hits.
All Scratch Acid 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 funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Fear record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skriet,
The Saints,
Crime,
The Divine Comedy,
Grauzone,
Absolute Body Control,
Lou Reed & John Cale,
The Names,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Fuzztones,
Slick Rick,
Sugar Minott,
Rahsaan Roland Kirk,
Scientists,
The Skatalites,
The Selecter,
Ronan,
The Knickerbockers,
Michelle Simonal,
Harmonia,
La Düsseldorf,
Albert Ayler,
Ultravox,
Roy Ayers Ubiquity,
Tres Demented,
The Smoke,
Jeff Lynne,
Jandek,
Japan,
Mandrill,
The Fugs,
Byron Stingily,
Thompson Twins,
Tomorrow,
Desert Stars,
Boogie Down Productions,
Talk Talk,
The Move,
Grandmaster Flash,
The Young Rascals,
Hashim,
MDC,
PIL,
The Dead C,
Robert Görl,
Janne Schatter,
Carl Craig,
Audionom,
Sixth Finger,
Yusef Lateef,
Suburban Knight,
A Flock of Seagulls,
Drexciya,
The Associates,
Kango’s Stein Massive,
Sister Nancy,
U.S. Maple,
Make Up,
Marc Romboy vs. Booka Shade,
Bad Manners,
The Stooges,
The Monochrome Set,
The West Coast Pop Art Experimental Band,
Art Ensemble Of Chicago,
Barclay James Harvest, Barclay James Harvest, Barclay James Harvest, Barclay James Harvest.
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.