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 United States and from Calgary.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Portland and Copenhagen.
I'm losing my edge to the art-school Accra 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the organ sounds with much patience.
I was there when Robert Palmer 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 Throbbing Gristle to the crunk 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 Lalann. All the underground hits.
All Mandrill tracks. I heard you have a vinyl of every Gichy Dan record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an oboe and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Alice Coltrane record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blossom Toes,
Dead Boys,
Sly & The Family Stone,
Avey Tare & Kría Brekkan,
the Soft Cell,
Qualms,
Roxette,
Black Moon,
The Modern Lovers,
Altered Images,
Dave Gahan,
Anakelly,
Oblivians,
Quadrant,
Cecil Taylor,
Sällskapet,
Camron Feat. Memphis Bleek And Beenie Seigel,
Section 25,
Peter & Gordon,
Vladislav Delay,
Faraquet,
Excepter,
Ronnie Foster,
Q65,
Aswad,
Gerry Rafferty,
James Chance & The Contortions,
Louis and Bebe Barron,
X-102,
Gichy Dan,
The Black Dice,
Rahsaan Roland Kirk,
Dark Day,
Negative Approach,
The Jesus and Mary Chain,
The Alarm Clocks,
Fort Wilson Riot,
Lucky Dragons,
The Toasters,
The Names,
Pantaleimon,
KRS-One,
Inner City,
Peter Gordon & Love of Life Orchestra,
Main Source,
Bob Dylan,
Rhythim Is Rhythim,
The Detroit Cobras,
Joyce Sims,
June Days,
Gary Puckett & The Union Gap,
Eden Ahbez,
Gian Franco Pienzio,
Howard Jones,
Lou Christie,
Tubeway Army,
James White and The Blacks, James White and The Blacks, James White and The Blacks, James White and The Blacks.
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.