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 Switzerland and from Glasgow.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Jakarta and Hong Kong.
I'm losing my edge to the art-school Toronto 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 snare 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 Cybotron to the grunge kids.
I played it at the Troubador.
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 F. McDonald. All the underground hits.
All Grandmaster Flash tracks. I heard you have a vinyl of every The Chocolate Watch Band record on German import.
I heard that you have a white label of every seminal funk 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 a clarinet and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Bob Dylan record.
I hear that you and your band have sold your rhodes and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ornette Coleman,
Jimmy McGriff,
Super Lover Cee & Casanova Rud,
The Monks,
Al Stewart,
Moby Grape,
Jacques Brel,
Interpol,
Davy DMX,
The West Coast Pop Art Experimental Band,
Funky Four + One,
Peter Gordon & Love of Life Orchestra,
Rod Modell,
Lungfish,
Thinking Fellers Union Local 282,
New York Dolls,
Black Sheep,
Hardrive,
London Community Gospel Choir,
Stiv Bators,
This Heat,
The Five Americans,
Carl Craig,
The Alarm Clocks,
Gerry Rafferty,
Alphaville,
Captain Beefheart & His Magic Band,
Cheater Slicks,
X-101,
Aaron Thompson,
Art Ensemble Of Chicago,
Orchestral Manoeuvres in the Dark,
Bush Tetras,
John Lydon,
Pole,
Boz Scaggs,
Theoretical Girls,
Ash Ra Tempel,
The Barracudas,
The Doobie Brothers,
Janne Schatter,
Fluxion,
Connie Case,
Nick Cave & The Bad Seeds,
The Flesh Eaters,
Deadbeat,
John Holt,
Harpers Bizarre,
Warsaw,
Supertramp,
Notorious Big And Bone Thugs,
Index,
Underground Resistance,
Johnny Clarke,
Kango’s Stein Massive,
Country Joe & The Fish,
Gang Starr,
Bob Dylan,
The Detroit Cobras,
Essential Logic,
Reagan Youth,
Von Mondo, Von Mondo, Von Mondo, Von Mondo.
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.