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 Tajikistan and from Cairo.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Stockholm and Seoul.
I'm losing my edge to the art-school Sao Paulo 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 oboe sounds with much patience.
I was there when David Bowie 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 John Lydon to the punk kids.
I played it at the Troubador.
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 Alton Ellis. All the underground hits.
All Neil Young & Crazy Horse tracks. I heard you have a vinyl of every Malaria! record on German import.
I heard that you have a white label of every seminal dance 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 guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Sarah Menescal record.
I hear that you and your band have sold your oboe and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bauhaus,
Arthur Verocai,
Nils Olav,
A Flock of Seagulls,
Judy Mowatt,
Piero Umiliani,
Parry Music,
Cluster,
Sly & The Family Stone,
Depeche Mode,
Maleditus Sound,
Gil Scott-Heron & Brian Jackson,
The Knickerbockers,
The Seeds,
The Last Poets,
Das Ding,
Andrew Ashong & Theo Parrish,
Radio Birdman,
Hasil Adkins,
Thee Headcoats,
Cal Tjader,
Joensuu 1685,
Carl Craig,
Slick Rick,
Ultravox,
Public Image Ltd.,
Pere Ubu,
Zero Boys,
Sight & Sound,
The Stooges,
Scott Walker + Sunn O))),
Sonny Sharrock,
The Dirtbombs,
Lyres,
The Smiths,
Harmonia,
Dead Boys,
Unrelated Segments,
Pantytec,
Malaria!,
Morten Harket,
Hot Snakes,
This Heat,
Grandmaster Flash,
Sixth Finger,
Kurtis Blow,
Boz Scaggs,
Visage,
Avey Tare,
Simply Red,
Flash Fearless,
The Mojo Men,
Bobby Womack,
Essential Logic,
Neil Young,
Isaac Hayes,
Siouxsie and the Banshees,
Severed Heads,
X-101,
Country Joe & The Fish,
Minutemen,
Second Layer, Second Layer, Second Layer, Second Layer.
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.