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 Bulgaria and from Shanghai.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Accra and Hong Kong.
I'm losing my edge to the art-school Paris 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 spring reverb sounds with much patience.
I was there when Captain Beefheart 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 The Slits to the electroclash 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 The Move. All the underground hits.
All Rod Modell tracks. I heard you have a vinyl of every The Remains record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a mellotron and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Shadows of Knight record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bush Tetras,
The Sonics,
Urselle,
Hot Snakes,
Yusef Lateef,
Jeff Mills,
Slick Rick,
The Velvet Underground,
Cybotron,
Panda Bear,
Ronan,
Dead Boys,
Can,
Selector Dub Narcotic,
Lightning Bolt,
New Order,
Public Enemy,
Lalo Schifrin,
Drive Like Jehu,
Wings,
Surgeon,
Q65,
Thinking Fellers Union Local 282,
Avey Tare & Kría Brekkan,
Bobby Byrd,
Rosa Yemen,
Funky Four + One,
Little Man,
Roy Ayers Ubiquity,
Kerrie Biddell,
Orchestral Manoeuvres in the Dark,
The Young Rascals,
E-Dancer,
Lungfish,
Beasts of Bourbon,
Bob Dylan,
Alice Coltrane,
Donald Byrd,
Ajijia Myrayebe,
Fear,
Barry Ungar,
Roxy Music,
Strawberry Alarm Clock,
Juan Atkins,
The Red Krayola,
Essential Logic,
Jerry Gold Smith,
Television,
Agitation Free,
Rufus Thomas,
The Electric Prunes,
Magma,
Josef K,
In Retrospect,
Arthur Verocai,
Red Lorry Yellow Lorry,
Kango’s Stein Massive,
DNA,
Index,
David McCallum,
Stetsasonic,
Vladislav Delay,
Stereo Dub,
Au Pairs, Au Pairs, Au Pairs, Au Pairs.
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.