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 Argentina and from Edmonton.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Toronto and Copenhagen.
I'm losing my edge to the art-school Copenhagen 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the guitar sounds with much patience.
I was there when Captain Beefheart 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 Matthew Bourne to the electroclash kids.
I played it at the Roxy.
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 The Young Rascals. All the underground hits.
All Von Mondo tracks. I heard you have a vinyl of every Can record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a marimba and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The American Breed record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pete Rock & C.L. Smooth,
Reagan Youth,
Silicon Teens,
Roy Ayers,
D'Angelo,
Wolf Eyes,
Drive Like Jehu,
Amon Düül II,
Bauhaus,
James Chance & The Contortions,
Parry Music,
David Bowie,
Howard Jones,
The Beau Brummels,
Y Pants,
Sun Ra,
The Fire Engines,
Scratch Acid,
Grandmaster Flash and the Furious Five,
Franke,
Vladislav Delay,
Soft Cell,
Pantaleimon,
Easy Going,
Camberwell Now,
Hoover,
Vainqueur,
B.T. Express,
The Sonics,
Kings Of Tomorrow,
Avey Tare,
Bill Near,
The Doors,
Sam Rivers,
H. Thieme,
Blake Baxter,
Depeche Mode,
Tropical Tobacco,
The Monochrome Set,
L. Decosne,
Stiv Bators,
Young Marble Giants,
The Dirtbombs,
Flash Fearless,
Boogie Down Productions,
Qualms,
The Cure,
Grauzone,
Essential Logic,
Alice Coltrane,
Animal Collective,
The Evens,
Ultravox,
Gichy Dan,
Lightning Bolt,
Larry & the Blue Notes,
the Association,
Cymande,
Dead Boys,
Au Pairs,
Black Moon,
The Alarm Clocks,
Scrapy, Scrapy, Scrapy, Scrapy.
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.