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 Latvia and from New York.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Shanghai and Shanghai.
I'm losing my edge to the art-school Houston 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 chamberlin 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 The Remains to the jazz kids.
I played it at Trash.
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 Supertramp. All the underground hits.
All Nick Fraelich tracks. I heard you have a vinyl of every Quando Quango record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Frankie Knuckles record.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Idris Muhammad,
Pierre Henry,
Electric Light Orchestra,
PIL,
Gil Scott Heron,
Gil Scott-Heron and Jamie xx,
Bill Wells,
Scrapy,
Scientists,
Nick Fraelich,
Al Stewart,
Ponytail,
Siglo XX,
Stockholm Monsters,
Cabaret Voltaire,
Bootsy's Rubber Band,
Barrington Levy,
Henry Cow,
The Associates,
The Gladiators,
The Monks,
T. Rex,
Jandek,
ABBA,
Bobby Hutcherson,
Little Man,
Kenny Larkin,
Ultramagnetic MC's,
The Gap Band,
Fear,
Black Sheep,
Anakelly,
Letta Mbulu,
Average White Band,
Second Layer,
Wighnomy Brothers & Robag Wruhme,
Magazine,
Amon Düül II,
Juan Atkins,
Radiohead,
Gian Franco Pienzio,
Nation of Ulysses,
the Germs,
Oppenheimer Analysis,
Tears for Fears,
Morten Harket,
New York Dolls,
Eurythmics,
Harmonia,
The Zeros,
Deadbeat,
Pagans,
Angry Samoans,
Ornette Coleman,
Eric Copeland,
Agent Orange,
Jesper Dahlbäck,
Gerry Rafferty,
the Soft Cell,
Trumans Water,
The Dirtbombs, The Dirtbombs, The Dirtbombs, The Dirtbombs.
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.