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 Russia and from Milan.
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 1978.
I'm losing my edge.
To all the kids in Tokyo and Copenhagen.
I'm losing my edge to the art-school Philadelphia 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 chamberlin 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 Pussy Galore to the dance 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 World's Most. All the underground hits.
All Fat Boys tracks. I heard you have a vinyl of every The Wake record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Sight & Sound 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?
Crime,
Eddi Front,
Juan Atkins,
Lucky Dragons,
The Cowsills,
Pussy Galore,
Tom Boy,
Delon & Dalcan,
The Modern Lovers,
Accadde A,
Vainqueur,
Darondo,
The Music Machine,
Interpol,
Boredoms,
Isaac Hayes,
Ultramagnetic MC's,
Alphaville,
Gastr Del Sol,
Magazine,
The Pop Group,
Rhythim Is Rhythim,
Orchestral Manoeuvres in the Dark,
New Age Steppers,
The Divine Comedy,
Sad Lovers and Giants,
Avey Tare & Kría Brekkan,
Eden Ahbez,
Electric Prunes,
The Detroit Cobras,
Heaven 17,
Sight & Sound,
Jesper Dahlback,
Aaron Thompson,
Idris Muhammad,
Inner City,
Lebanon Hanover,
Newcleus,
Jimmy McGriff,
Sunsets and Hearts,
The Moody Blues,
Angry Samoans,
The Standells,
Masters at Work,
The Monochrome Set,
Nas,
Soulsonic Force,
Vaughan Mason & Crew,
The Count Five,
Metal Thangz,
Popol Vuh,
It's A Beautiful Day,
Rosa Yemen,
Drive Like Jehu,
Aloha Tigers,
Q and Not U,
the Swans,
Minutemen,
Roger Hodgson,
Pete Rock & C.L. Smooth,
Sexual Harrassment,
New York Dolls,
Tears for Fears,
The West Coast Pop Art Experimental Band,
Tres Demented, Tres Demented, Tres Demented, Tres Demented.
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.