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 Turkey and from Tokyo.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Tehran and Madrid.
I'm losing my edge to the art-school Glasgow 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the mellotron sounds with much patience.
I was there when Donald Fagen 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 Franke to the electroclash kids.
I played it at the Astoria.
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 Matthew Bourne. All the underground hits.
All Eve St. Jones tracks. I heard you have a vinyl of every Infiniti record on German import.
I heard that you have a white label of every seminal rock 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 synthesizer and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a One Last Wish record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alton Ellis,
Brothers Johnson,
Nirvana,
Spandau Ballet,
Peter & Gordon,
The Slits,
Average White Band,
Flash Fearless,
Kayak,
Girls At Our Best!,
Moebius,
Man Parrish,
Hardrive,
Agitation Free,
Wings,
The Searchers,
Schoolly D,
James Chance & The Contortions,
the Slits,
Gil Scott-Heron & Brian Jackson,
Sugar Minott,
Sun Ra,
Grandmaster Flash and the Furious Five,
Sällskapet,
One Last Wish,
The Last Poets,
The Smoke,
Dark Day,
Easy Going,
Patti Smith,
Popol Vuh,
K-Klass,
Soft Cell,
Eric Copeland,
E-Dancer,
Pylon,
The Cramps,
Curtis Mayfield,
Jesper Dahlbäck,
Johnny Osbourne,
Sex Pistols,
Brand Nubian,
London Community Gospel Choir,
The Fuzztones,
Röyhkä ja Rättö ja Lehtisalo,
The Selecter,
Sarah Menescal,
Kango’s Stein Massive,
Fifty Foot Hose,
Blancmange,
Godley & Creme,
The Mummies,
Blake Baxter,
The Victims,
Bluetip,
Ultravox,
Tubeway Army,
The Dead C,
Oppenheimer Analysis,
The Doors, The Doors, The Doors, The Doors.
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.