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 Turkmenistan and from Beijing.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Mexico City and Tokyo.
I'm losing my edge to the art-school Paris 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 1968 at the first Can practice in a loft in Cologne.
I was working on the rhodes sounds with much patience.
I was there when Nile Rodgers 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 Spoonie Gee to the electroclash kids.
I played it at the Hacienda.
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 Pierre Henry. All the underground hits.
All The Fire Engines tracks. I heard you have a vinyl of every Swell Maps 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 synthesizer and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Invisible record.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Porter Ricks,
Jacques Brel,
Moebius,
Mark Hollis,
The Monochrome Set,
Gil Scott-Heron & Brian Jackson,
Eurythmics,
Piero Umiliani,
The Leaves,
Can,
Soft Cell,
Nick Cave & The Bad Seeds,
The Red Krayola,
The Saints,
Sad Lovers and Giants,
The Gun Club,
Rosa Yemen,
Unwound,
Bush Tetras,
Wasted Youth,
Q and Not U,
a-ha,
Scientists,
Spandau Ballet,
Cybotron,
Absolute Body Control,
Judy Mowatt,
Gong,
Country Joe & The Fish,
Ronnie Foster,
Rekid,
Donny Hathaway,
The Human League,
Gerry Rafferty,
Isaac Hayes,
In Retrospect,
Freddie Wadling,
Joe Finger,
The Jesus and Mary Chain,
Liaisons Dangereuses,
The Cure,
Kango’s Stein Massive,
Larry & the Blue Notes,
Deakin,
James White and The Blacks,
Peter and Kerry,
Gang Green,
ABC,
Sparks,
Underground Resistance,
John Coltrane,
Motorama,
Newcleus,
Pierre Henry,
The Skatalites,
Lungfish,
Nick Fraelich,
Gabor Szabo,
Flash Fearless,
Man Parrish,
The Stooges,
The Kinks,
MDC,
Thee Headcoats, Thee Headcoats, Thee Headcoats, Thee Headcoats.
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.