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 Mauritania and from Mumbai.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Portland and Salvador.
I'm losing my edge to the art-school Salvador 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 clarinet 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 Roxette to the grunge 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 UT. All the underground hits.
All Glambeats Corp. tracks. I heard you have a vinyl of every Liliput record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a guitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Fluxion record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Depeche Mode,
Kauko Röyhkä ja Narttu,
Television,
The Grass Roots,
Tomorrow,
Girls At Our Best!,
Super Lover Cee & Casanova Rud,
Black Moon,
Kings Of Tomorrow,
Liaisons Dangereuses,
Moss Icon,
Groovy Waters,
Pet Shop Boys,
Bluetip,
Derrick Morgan,
Cybotron,
Orchestral Manoeuvres in the Dark,
The J.B.'s,
Sad Lovers and Giants,
The Electric Prunes,
Marshall Jefferson,
Iggy Pop,
Freddie Wadling,
The Pop Group,
Rhythm & Sound,
Dorothy Ashby,
Pulsallama,
Gang Green,
the Germs,
The Monks,
H. Thieme,
Avey Tare & Kría Brekkan,
Aswad,
Hoover,
Kaleidoscope,
The Kinks,
Brand Nubian,
The Five Americans,
Mad Mike,
The Beau Brummels,
Danielle Patucci,
Dr. Dre and Snoop Doggy Dog,
Gang Starr,
the Sonics,
Andrew Hill,
Faraquet,
The Invisible,
Bauhaus,
Wasted Youth,
Davy DMX,
The Slits,
Jacques Brel,
Jesper Dahlback,
Animal Collective,
This Heat,
Deutsch Amerikanische Freundschaft,
The Last Poets,
Royal Trux,
Radio Birdman,
Altered Images,
Pierre Henry,
Lou Reed,
Dual Sessions, Dual Sessions, Dual Sessions, Dual Sessions.
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.