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 Qatar and from Milan.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Tehran and Spokane.
I'm losing my edge to the art-school Salvador 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 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 Rowland S Howard / Lydia Lunch to the punk kids.
I played it at CBGB's.
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 Moss Icon. All the underground hits.
All Mad Mike tracks. I heard you have a vinyl of every Visage 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 '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Sad Lovers and Giants record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pharoah Sanders,
Joey Negro,
Pierre Henry,
The Fall,
Lee Hazlewood,
Camberwell Now,
The Dirtbombs,
Q65,
Masters at Work,
Boredoms,
Lungfish,
Soft Cell,
Jimmy McGriff,
X-Ray Spex,
Bauhaus,
Scrapy,
Desert Stars,
the Association,
Tears for Fears,
Sun Ra Arkestra,
The Toasters,
Deepchord,
Roy Ayers,
Hot Snakes,
Mars,
New Age Steppers,
the Bar-Kays,
Zero Boys,
Scion,
Ludus,
Spoonie Gee,
Oblivians,
Major Organ And The Adding Machine,
Carl Craig,
Franke,
Sixth Finger,
Shoche,
Juan Atkins,
the Swans,
Kerri Chandler,
The Smoke,
Tres Demented,
Jesper Dahlbäck,
Letta Mbulu,
The Human League,
Avey Tare & Kría Brekkan,
The Move,
Electric Light Orchestra,
X-101,
John Lydon,
Cluster,
Trumans Water,
Marine Girls,
Colin Newman,
The Selecter,
Andrew Hill,
Louis and Bebe Barron,
Guru Guru,
Animal Collective, Animal Collective, Animal Collective, Animal Collective.
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.