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 San Marino 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 1960 to 1979.
I'm losing my edge.
To all the kids in London and New York.
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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the synthesizer sounds with much patience.
I was there when Lou Reed 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 Dual Sessions to the rock kids.
I played it at Trash.
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 John Coltrane. All the underground hits.
All Ice-T tracks. I heard you have a vinyl of every CMW record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an organ and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your sitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rapeman,
Avey Tare & Kría Brekkan,
AZ,
Black Moon,
Tomorrow,
Josef K,
Kool Moe Dee,
Sight & Sound,
The Flesh Eaters,
Andrew Ashong & Theo Parrish,
Sunsets and Hearts,
Brand Nubian,
Siglo XX,
Toni Rubio,
T.S.O.L.,
the Human League,
Stiv Bators,
Minnie Riperton,
Peter and Kerry,
Jeff Lynne,
Urselle,
Spandau Ballet,
Bauhaus,
Scan 7,
MC5,
The Young Rascals,
Sugar Minott,
Wings,
The Black Dice,
Pharoah Sanders,
Thompson Twins,
Jeff Mills,
Animal Collective,
Public Image Ltd.,
Dark Day,
The Wake,
Bang On A Can,
Traffic Nightmare,
Brick,
Lakeside,
Average White Band,
The Mummies,
Rufus Thomas,
Ludus,
Sam Rivers,
Sexual Harrassment,
The Detroit Cobras,
Make Up,
Half Japanese,
Wolf Eyes,
Louis and Bebe Barron,
The Sound,
Terry Callier,
Malaria!,
The Chocolate Watch Band,
The Happenings,
Crispy Ambulance,
Boz Scaggs,
Kango’s Stein Massive,
Robert Hood,
The Searchers,
Bang on a Can All-Stars, Bang on a Can All-Stars, Bang on a Can All-Stars, Bang on a Can All-Stars.
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.