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 Sudan and from Glasgow.
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 1976.
I'm losing my edge.
To all the kids in Jakarta and London.
I'm losing my edge to the art-school Lille 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 theremin sounds with much patience.
I was there when Michael McDonald 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 Man Eating Sloth to the grime 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 Faraquet. All the underground hits.
All Traffic Nightmare tracks. I heard you have a vinyl of every The Monks 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 '70s cut and another box set from the '70s.
I hear you're buying a marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Quadrant record.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Major Organ And The Adding Machine,
Jimmy McGriff,
L. Decosne,
DeepChord presents Echospace,
Soft Machine,
Scott Walker,
U.S. Maple,
The Cramps,
Slave,
Guru Guru,
Black Pus,
Wings,
Ten City,
Black Sheep,
Ronan,
The Knickerbockers,
Joe Finger,
Sixth Finger,
Ultimate Spinach,
The Alarm Clocks,
Lou Reed & John Cale,
The Kinks,
H. Thieme,
The Dave Clark Five,
The Moody Blues,
Peter and Kerry,
Aswad,
KRS-One,
Nation of Ulysses,
Nas,
Sarah Menescal,
Mad Mike,
Das Ding,
Public Image Ltd.,
Bobby Hutcherson,
Half Japanese,
Excepter,
Roxette,
Talk Talk,
Roxy Music,
Ultravox,
T.S.O.L.,
Marvin Gaye,
Beasts of Bourbon,
Jesper Dahlbäck,
Buzzcocks,
This Heat,
Aaron Thompson,
Alton Ellis,
Gichy Dan,
Don Cherry,
Electric Prunes,
Marmalade,
A Flock of Seagulls,
Flamin' Groovies,
David McCallum,
Livin' Joy,
Altered Images,
The Doors,
Richard Hell and the Voidoids,
Avey Tare's Slasher Flicks,
Hashim,
Little Man, Little Man, Little Man, Little Man.
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.