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 Lyon.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Taipei and Philadelphia.
I'm losing my edge to the art-school Shanghai 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 clarinet sounds with much patience.
I was there when Robert Palmer 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 Livin' Joy to the rap kids.
I played it at the 40 Watt.
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 Terrestrial Tones. All the underground hits.
All The Birthday Party tracks. I heard you have a vinyl of every Surgeon 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 '70s.
I hear you're buying a snare and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Pole record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Darondo,
Idris Muhammad,
Gerry Rafferty,
Eyeless In Gaza,
John Holt,
Ronnie Foster,
The Move,
The Alarm Clocks,
Gil Scott-Heron and Jamie xx,
The Dead C,
Selector Dub Narcotic,
Mars,
The Motions,
cv313,
Infiniti,
Gang Green,
The Jesus and Mary Chain,
T. Rex,
Richard Hell and the Voidoids,
Urselle,
Ultravox,
Faraquet,
The Slackers,
Danielle Patucci,
John Coltrane,
Lee Hazlewood,
Robert Görl,
Second Layer,
Judy Mowatt,
Flipper,
Country Joe & The Fish,
Joe Finger,
Fugazi,
Kas Product,
Radio Birdman,
Leonard Cohen,
Saccharine Trust,
The Saints,
Pussy Galore,
The Fugs,
Sam Rivers,
Organ,
Bobby Byrd,
Soul II Soul,
K-Klass,
Pharaoh Sanders and the Fire Engines,
Strawberry Alarm Clock,
Radiopuhelimet,
The Litter,
Oppenheimer Analysis,
Erykah Badu,
Connie Case,
Visionaries,LMNO, T- Love & Iriscience,
The Monochrome Set,
Bad Manners,
Althea and Donna,
Derrick May,
Crooked Eye,
Maurizio,
Ossler, Ossler, Ossler, Ossler.
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.