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 Pakistan and from Johannesburg.
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 1971.
I'm losing my edge.
To all the kids in Seoul and Madrid.
I'm losing my edge to the art-school Seoul 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 clarinet 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 Crime to the dance kids.
I played it at the Spitz.
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 Stetsasonic. All the underground hits.
All Ultramagnetic MC's tracks. I heard you have a vinyl of every Yaz record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a linndrum and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Radio Birdman record.
I hear that you and your band have sold your theremin and bought a sitar.
I hear that you and your band have sold your sitar and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Metal Thangz,
Bootsy Collins,
Rowland S Howard / Lydia Lunch,
Bauhaus,
Kevin Saunderson,
La Düsseldorf,
Dennis Brown,
D'Angelo,
The Durutti Column,
Rekid,
Stereo Dub,
Albert Ayler,
Gong,
X-101,
Sister Nancy,
Symarip,
Connie Case,
Bizarre Inc.,
World's Most,
Unwound,
Echospace,
Byron Stingily,
Procol Harum,
The Standells,
Aaron Thompson,
Pharaoh Sanders and the Fire Engines,
The Cosmic Jokers,
The Toasters,
Scientists,
Richard Hell and the Voidoids,
Flipper,
Don Cherry,
Pole,
Aural Exciters,
Model 500,
Moebius,
Flash Fearless,
Black Pus,
Stiv Bators,
Skarface,
Camberwell Now,
Crispy Ambulance,
Lee Hazlewood,
L. Decosne,
Nico,
Kerrie Biddell,
The Fire Engines,
The Mummies,
Spandau Ballet,
Rhythm & Sound,
Masters at Work,
June of 44,
Sonny Sharrock,
The Gladiators,
The Fortunes,
Marine Girls,
Soul II Soul,
Lakeside,
Schoolly D,
Thee Headcoats,
Stetsasonic,
The Cramps,
DeepChord presents Echospace,
Black Flag,
Jacques Brel, Jacques Brel, Jacques Brel, Jacques Brel.
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.