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 Kyrgyzstan and from Salvador.
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 1973.
I'm losing my edge.
To all the kids in Lille and Paris.
I'm losing my edge to the art-school Edmonton 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 marimba 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 In Retrospect to the grunge 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 Fifty Foot Hose. All the underground hits.
All the Bar-Kays tracks. I heard you have a vinyl of every ABC 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 '70s cut and another box set from the '90s.
I hear you're buying a mellotron and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Sandy B record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Wells,
The Associates,
ABC,
Cameo,
Bizarre Inc.,
Interpol,
Organ,
Bootsy Collins,
Soft Cell,
The Litter,
The Cowsills,
These Immortal Souls,
The Real Kids,
Derrick Morgan,
Nils Olav,
Yellowson,
The Gap Band,
John Foxx,
The Modern Lovers,
Major Organ And The Adding Machine,
Max Romeo,
Fugazi,
Piero Umiliani,
Sister Nancy,
Terry Callier,
Strawberry Alarm Clock,
Lucky Dragons,
Urselle,
Electric Light Orchestra,
Cecil Taylor,
Grauzone,
Kerrie Biddell,
Deutsch Amerikanische Freundschaft,
Donny Hathaway,
Bronski Beat,
Visage,
The Grass Roots,
Bauhaus,
The Trojans,
Lightning Bolt,
The West Coast Pop Art Experimental Band,
Maurizio,
Second Layer,
Sticky Fingaz feat. Raekwon,
Sunsets and Hearts,
The Wake,
The Monochrome Set,
Curtis Mayfield,
David Axelrod,
Mission of Burma,
The Cramps,
Juan Atkins,
Mr. Review,
Mark Hollis,
Crime,
Todd Rundgren,
The Walker Brothers,
Fear,
10cc,
Joyce Sims,
Avey Tare's Slasher Flicks,
Pete Rock & C.L. Smooth,
Nick Fraelich,
cv313, cv313, cv313, cv313.
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.