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 China and from Accra.
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 1979.
I'm losing my edge.
To all the kids in Columbus and Tehran.
I'm losing my edge to the art-school Sao Paulo 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 clarinet 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 Suicide to the dance kids.
I played it at the Spitz.
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 Half Japanese. All the underground hits.
All Sonic Youth tracks. I heard you have a vinyl of every Colin Newman record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a clarinet and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a R.M.O. record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brand Nubian,
Bobby Sherman,
Marmalade,
The Trojans,
Letta Mbulu,
Wings,
Section 25,
Sad Lovers and Giants,
Rhythm & Sound,
The Young Rascals,
F. McDonald,
UT,
Echospace,
Intrusion,
Zapp,
8 Eyed Spy,
Clear Light,
Traffic Nightmare,
Warsaw,
Young Marble Giants,
Deakin,
The Zeros,
Major Organ And The Adding Machine,
Cluster,
OOIOO,
T.S.O.L.,
A Flock of Seagulls,
Scientists,
The Offenders,
Sun Ra,
Davy DMX,
The New Christs,
Magma,
Bronski Beat,
Model 500,
Jacob Miller,
A Certain Ratio,
Rotary Connection,
Spandau Ballet,
Toni Rubio,
the Bar-Kays,
Gil Scott Heron,
Sister Nancy,
One Last Wish,
Funkadelic,
Funky Four + One,
Ash Ra Tempel,
Blake Baxter,
Alton Ellis,
kango's stein massive,
The Mojo Men,
Lonnie Liston Smith,
The Sound,
Morten Harket,
FM Einheit,
Rowland S Howard / Lydia Lunch,
Severed Heads,
This Heat,
Eric Copeland,
Vladislav Delay,
La Düsseldorf,
Public Image Ltd., Public Image Ltd., Public Image Ltd., Public Image Ltd..
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.