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 Benin and from Glasgow.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Delhi and Shanghai.
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 theremin 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 Hot Snakes to the techno kids.
I played it at the Crocodile.
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 Strawberry Alarm Clock. All the underground hits.
All Arthur Verocai tracks. I heard you have a vinyl of every The Sisters of Mercy record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Selector Dub Narcotic record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barry Ungar,
The Jesus and Mary Chain,
Chris Corsano,
Susan Cadogan,
Monks,
Sam Rivers,
Alphaville,
Kango’s Stein Massive,
Röyhkä ja Rättö ja Lehtisalo,
DeepChord presents Echospace,
Suburban Knight,
John Coltrane,
Black Moon,
Al Stewart,
The Blackbyrds,
Graham Central Station,
Can,
Kerrie Biddell,
DJ Sneak,
Amazonics,
Nas,
Yellowson,
Soul II Soul,
Delon & Dalcan,
Scratch Acid,
Howard Jones,
Drexciya,
Vaughan Mason & Crew,
James Chance & The Contortions,
Brass Construction,
The Cowsills,
The Fugs,
Derrick May,
Michelle Simonal,
Bobby Hutcherson,
R.M.O.,
Soulsonic Force,
Lebanon Hanover,
Amon Düül,
Nick Cave & The Bad Seeds,
The Doors,
The Human League,
Mission of Burma,
Drive Like Jehu,
Chrome,
Country Teasers,
the Germs,
the Human League,
Rhythim Is Rhythim,
Lou Christie,
Model 500,
Bronski Beat,
Quadrant,
Ossler,
The Offenders,
Dawn Penn,
Barbara Tucker,
New York Dolls,
Vainqueur,
Albert Ayler,
Angels of Light & Akron/Family,
48th St. Collective,
Popol Vuh,
Hardrive, Hardrive, Hardrive, Hardrive.
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.