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 Ecuador 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 1962 to 1972.
I'm losing my edge.
To all the kids in Mexico City and Glasgow.
I'm losing my edge to the art-school New York 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 harpsichord 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 Stockholm Monsters to the electroclash kids.
I played it at Cafe Wha.
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 Audionom. All the underground hits.
All Echospace tracks. I heard you have a vinyl of every Iggy Pop 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 '70s cut and another box set from the '90s.
I hear you're buying a snare and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Gong record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Piero Umiliani,
Faust,
Sarah Menescal,
Jesper Dahlback,
Youth Brigade,
Wally Richardson,
Electric Light Orchestra,
Tropical Tobacco,
The Alarm Clocks,
Visage,
Frankie Knuckles,
Bush Tetras,
Stetsasonic,
Alton Ellis,
10cc,
Art Ensemble Of Chicago,
Glenn Branca,
Masters at Work,
cv313,
the Association,
Stiv Bators,
Brick,
Rakim,
Grey Daturas,
Bad Manners,
The Martian,
The Chocolate Watch Band,
Niagra,
Unwound,
Wasted Youth,
The Young Rascals,
Eurythmics,
Tomorrow,
Hashim,
Bang On A Can,
Flipper,
Television,
ABC,
The Leaves,
Robert Görl,
The New Christs,
The Zeros,
Bluetip,
Fela Kuti,
Lou Reed,
Rhythim Is Rhythim,
The Names,
Crash Course in Science,
Roy Ayers,
Pierre Henry,
Animal Collective,
B.T. Express,
EPMD,
Strawberry Alarm Clock,
Pharoah Sanders,
Simply Red,
Accadde A,
Rod Modell,
Nas,
Kango’s Stein Massive,
Gang Green, Gang Green, Gang Green, Gang Green.
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.