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 France and from Lyon.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Bologna and Manchester.
I'm losing my edge to the art-school Accra 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 theremin sounds with much patience.
I was there when Tom Verlaine 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 Desert Stars to the disco 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 Juan Atkins. All the underground hits.
All Matthew Bourne tracks. I heard you have a vinyl of every Jeff Mills 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 '60s cut and another box set from the '90s.
I hear you're buying an oboe and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Barry Ungar record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scrapy,
Eurythmics,
Be Bop Deluxe,
The Cramps,
Faust,
Harry Pussy,
10cc,
the Sonics,
Brass Construction,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Gichy Dan,
The Gap Band,
Erasure,
The West Coast Pop Art Experimental Band,
Lyres,
Gabor Szabo,
Chris & Cosey,
The Happenings,
Clear Light,
Fatback Band,
Cameo,
Red Lorry Yellow Lorry,
Joyce Sims,
Magazine,
the Germs,
New Age Steppers,
Aural Exciters,
Urselle,
Neu!,
Ash Ra Tempel,
Jeff Mills,
The Dave Clark Five,
Skarface,
Spandau Ballet,
Traffic Nightmare,
Jeff Lynne,
Glambeats Corp.,
Toni Rubio,
Nick Fraelich,
cv313,
Rufus Thomas,
The Stooges,
Gregory Isaacs,
Ten City,
Man Parrish,
Public Enemy,
Monolake,
Smog,
Skaos,
Mantronix,
Crash Course in Science,
John Coltrane,
Swans,
China Crisis,
Barbara Tucker,
Jimmy McGriff,
Echo & the Bunnymen,
The Star Department,
The Busters,
Kevin Saunderson,
The Martian, The Martian, The Martian, The Martian.
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.