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 Netherlands and from Bologna.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Delhi and Houston.
I'm losing my edge to the art-school Columbus 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 marimba sounds with much patience.
I was there when Michael McDonald 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 Masters at Work to the grime kids.
I played it at Cafe Wha.
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 Nas. All the underground hits.
All Sticky Fingaz feat. Raekwon tracks. I heard you have a vinyl of every Josef K 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 '50s cut and another box set from the '80s.
I hear you're buying a rhodes and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
48th St. Collective,
Lalann,
Cheater Slicks,
Animal Collective,
Pylon,
Kerrie Biddell,
Laurel Aitken,
Lou Christie,
The Royal Family And The Poor,
Eric Copeland,
The Misunderstood,
The Cure,
Peter and Kerry,
Mandrill,
Bauhaus,
Jesper Dahlback,
Roy Ayers,
The Residents,
John Foxx,
Mark Hollis,
The Count Five,
The Gladiators,
Bush Tetras,
Black Flag,
Idris Muhammad,
Kauko Röyhkä ja Narttu,
The Shadows of Knight,
The Raincoats,
Tears for Fears,
Sandy B,
Smog,
Gary Puckett & The Union Gap,
Tommy Roe,
Harmonia,
Beasts of Bourbon,
Trumans Water,
Deadbeat,
Freddie Wadling,
Tubeway Army,
Rekid,
Hoover,
Kool G Rap & DJ Polo,
Yazoo,
John Lydon,
Vaughan Mason & Crew,
Kenny Larkin,
KRS-One,
Erasure,
Terrestrial Tones,
Todd Terry,
One Last Wish,
Maleditus Sound,
Deutsch Amerikanische Freundschaft,
Sister Nancy,
Gichy Dan,
Visionaries,LMNO, T- Love & Iriscience,
Skarface,
Orchestral Manoeuvres in the Dark,
Crooked Eye,
Lee Hazlewood,
Neil Young,
Lakeside, Lakeside, Lakeside, Lakeside.
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.