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 Djibouti and from Toronto.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1970.
I'm losing my edge.
To all the kids in Mexico City and Stockholm.
I'm losing my edge to the art-school Manchester 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 theremin sounds with much patience.
I was there when Lou Reed 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 Jeff Lynne to the dance 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 Mars. All the underground hits.
All Rekid tracks. I heard you have a vinyl of every James Chance & The Contortions record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a sitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Shoche record.
I hear that you and your band have sold your marimba and bought a theremin.
I hear that you and your band have sold your theremin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Drive Like Jehu,
The Fire Engines,
Arthur Verocai,
London Community Gospel Choir,
Piero Umiliani,
Goldenarms,
the Slits,
UT,
Amazonics,
Motorama,
Guru Guru,
Throbbing Gristle,
Agent Orange,
David McCallum,
Malaria!,
Arab on Radar,
Lou Christie,
Jeru the Damaja,
James Chance & The Contortions,
Kenny Larkin,
Alison Limerick,
Magma,
Sly & The Family Stone,
The Last Poets,
Big Daddy Kane,
June Days,
U.S. Maple,
Derrick May,
Radiopuhelimet,
Bill Near,
Duran Duran,
Severed Heads,
Liliput,
Joe Finger,
Max Romeo,
T. Rex,
Crash Course in Science,
Cecil Taylor,
The Detroit Cobras,
Gil Scott Heron,
The Zeros,
Bobbi Humphrey,
David Bowie,
Crispian St. Peters,
Ken Boothe,
Banda Bassotti,
Carl Craig,
Super Lover Cee & Casanova Rud,
Echospace,
Joe Smooth,
Marmalade,
Danielle Patucci,
Dr. Dre and Snoop Doggy Dog,
The Monochrome Set,
DeepChord presents Echospace,
Red Lorry Yellow Lorry,
Royal Trux,
Swans,
Liaisons Dangereuses,
FM Einheit,
Sad Lovers and Giants,
Pole, Pole, Pole, Pole.
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.