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 Equatorial Guinea and from Houston.
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 1962 to 1975.
I'm losing my edge.
To all the kids in London and Columbus.
I'm losing my edge to the art-school Bremen 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 marimba sounds with much patience.
I was there when Holger Czukay 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 Be Bop Deluxe 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 Chrome. All the underground hits.
All Barclay James Harvest tracks. I heard you have a vinyl of every Strawberry Alarm Clock 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 '50s cut and another box set from the '70s.
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 Ken Boothe record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Albert Ayler,
Banda Bassotti,
Excepter,
Bootsy Collins,
Tres Demented,
Max Romeo,
The Fortunes,
Tubeway Army,
Sun City Girls,
Schoolly D,
Bill Wells,
The Modern Lovers,
Nas,
The Kinks,
E-Dancer,
Brick,
Tommy Roe,
Black Moon,
A Certain Ratio,
Joey Negro,
Kurtis Blow,
Barry Ungar,
Freddie Wadling,
Glambeats Corp.,
Jesper Dahlbäck,
Quantec,
Suburban Knight,
James White and The Blacks,
The Motions,
D'Angelo,
Skriet,
Rotary Connection,
Archie Shepp,
Roxette,
Joyce Sims,
Loose Ends,
The Zeros,
Chrome,
The Raincoats,
Flamin' Groovies,
Sex Pistols,
Radio Birdman,
Aaron Thompson,
Jacques Brel,
Pantaleimon,
John Coltrane,
Deepchord,
Crispian St. Peters,
Grauzone,
Donald Byrd,
Anakelly,
Shuggie Otis,
The Move,
Gang Gang Dance,
The Skatalites,
The Pretty Things,
Young Marble Giants,
X-101,
Sugar Minott,
The Golliwogs,
Big Daddy Kane,
Cybotron, Cybotron, Cybotron, Cybotron.
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.