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 Cape Verde and from Lille.
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 1974.
I'm losing my edge.
To all the kids in Shanghai and Houston.
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 arpeggiator sounds with much patience.
I was there when Donald Fagen 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 Drexciya to the punk 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 D'Angelo. All the underground hits.
All Peter & Gordon tracks. I heard you have a vinyl of every Pantaleimon record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Ash Ra Tempel record.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Barracudas,
Negative Approach,
ABC,
Slick Rick,
Marine Girls,
UT,
Be Bop Deluxe,
Mandrill,
Nirvana,
David Axelrod,
Crash Course in Science,
Q and Not U,
Manfred Mann's Earth Band,
Section 25,
Andrew Ashong & Theo Parrish,
A Certain Ratio,
Hardrive,
Basic Channel,
Kango’s Stein Massive,
Sixth Finger,
Super Lover Cee & Casanova Rud,
The Victims,
The Martian,
The Names,
Charles Mingus,
Camberwell Now,
Major Organ And The Adding Machine,
China Crisis,
Red Lorry Yellow Lorry,
Japan,
Los Fastidios,
Talk Talk,
Aloha Tigers,
Sonny Sharrock,
Yazoo,
Warren Ellis,
Gichy Dan,
Vainqueur,
The Blackbyrds,
The Evens,
The Durutti Column,
Goldenarms,
the Soft Cell,
Beasts of Bourbon,
The Selecter,
Byron Stingily,
Subhumans,
Shoche,
Country Teasers,
The West Coast Pop Art Experimental Band,
Throbbing Gristle,
Mary Jane Girls,
Glambeats Corp.,
Rufus Thomas,
Kenny Larkin,
Ken Boothe,
Louis and Bebe Barron,
Groovy Waters,
Sex Pistols,
Gastr Del Sol,
the Bar-Kays,
Nick Fraelich,
The Toasters, The Toasters, The Toasters, The Toasters.
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.