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 Denmark and from Bologna.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Houston and Bremen.
I'm losing my edge to the art-school Stockholm 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the synthesizer sounds with much patience.
I was there when David Bowie 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 Tomorrow to the rap kids.
I played it at the 40 Watt.
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 Deutsch Amerikanische Freundschaft. All the underground hits.
All Harmonia tracks. I heard you have a vinyl of every The American Breed 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 '80s.
I hear you're buying a synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a It's A Beautiful Day record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crispian St. Peters,
Dennis Brown,
Country Joe & The Fish,
Donald Byrd,
Adolescents,
The Sonics,
Panda Bear,
The Dave Clark Five,
X-Ray Spex,
The Cowsills,
Skriet,
Aaron Thompson,
Marine Girls,
Niagra,
Delta 5,
Lower 48,
Brothers Johnson,
Silicon Teens,
Harpers Bizarre,
Michelle Simonal,
Ten City,
Television Personalities,
Desert Stars,
R.M.O.,
Fela Kuti,
Masters at Work,
The Count Five,
the Normal,
Albert Ayler,
Eurythmics,
Maurizio,
Siouxsie and the Banshees,
Terror Squad Feat. Camron,
The Dirtbombs,
Minny Pops,
Ornette Coleman,
Iggy Pop,
Procol Harum,
Chris & Cosey,
Blossom Toes,
Flamin' Groovies,
Lightning Bolt,
Trumans Water,
AZ,
The Star Department,
T.S.O.L.,
Soft Machine,
Marmalade,
Röyhkä ja Rättö ja Lehtisalo,
Don Cherry,
Nils Olav,
Darondo,
Marc Romboy vs. Booka Shade,
Bizarre Inc.,
David Bowie,
James Chance & The Contortions,
Peter Gordon & Love of Life Orchestra,
Grandmaster Flash,
Lalann,
Ralphi Rosario,
Gang Starr,
48th St. Collective,
Grauzone,
The Residents, The Residents, The Residents, The Residents.
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.