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 Turkey and from Winnipeg.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Spokane and Portland.
I'm losing my edge to the art-school Tokyo 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 snare sounds with much patience.
I was there when Nile Rodgers 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 Eli Mardock to the techno 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 Mo-Dettes. All the underground hits.
All Vaughan Mason & Crew tracks. I heard you have a vinyl of every Eurythmics record on German import.
I heard that you have a white label of every seminal dance 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 rhodes and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Graham Central Station record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Juan Atkins,
Electric Prunes,
Deutsch Amerikanische Freundschaft,
The Shadows of Knight,
Janne Schatter,
AZ,
The Residents,
Goldenarms,
The Offenders,
Zapp,
The Misunderstood,
Circle Jerks,
Todd Terry,
Sex Pistols,
Electric Light Orchestra,
The Men They Couldn't Hang,
Crash Course in Science,
Kool Moe Dee,
Aloha Tigers,
10cc,
Urselle,
Pole,
Echo & the Bunnymen,
Scientists,
Wire,
Skaos,
Sly & The Family Stone,
Eddi Front,
The Dead C,
The Monochrome Set,
Eric Copeland,
The Monks,
The Grass Roots,
Reuben Wilson,
Ten City,
The Kinks,
Masters at Work,
Siglo XX,
Neil Young,
Roxette,
Johnny Clarke,
Eyeless In Gaza,
Freddie Wadling,
Negative Approach,
LL Cool J,
MC5,
Kurtis Blow,
Justin Hinds & The Dominoes,
David McCallum,
Echospace,
Pierre Henry,
The Cowsills,
Scrapy,
Bronski Beat,
Scott Walker,
Bill Wells,
Cecil Taylor,
Stetsasonic,
Moss Icon,
Amon Düül,
Delon & Dalcan,
James Chance & The Contortions,
Desert Stars, Desert Stars, Desert Stars, Desert Stars.
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.