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 Peru and from Tehran.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Tehran and Lagos.
I'm losing my edge to the art-school Philadelphia 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the chamberlin 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 The Techniques to the techno kids.
I played it at the Troubador.
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 Unwound. All the underground hits.
All Jacques Brel tracks. I heard you have a vinyl of every Heaven 17 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 '90s.
I hear you're buying a snare and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Black Flag record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pole,
Janne Schatter,
The Stooges,
Black Moon,
Essential Logic,
Arcadia,
The Velvet Underground,
Lou Reed & Metallica,
The Men They Couldn't Hang,
Bizarre Inc.,
Jimmy McGriff,
Oppenheimer Analysis,
Pylon,
Red Lorry Yellow Lorry,
the Soft Cell,
Niagra,
Sandy B,
Wasted Youth,
Moss Icon,
Be Bop Deluxe,
Subhumans,
DJ Style,
FM Einheit,
Nas,
Notorious Big And Bone Thugs,
Hoover,
Magma,
Public Enemy,
Mad Mike,
Liaisons Dangereuses,
Captain Beefheart & His Magic Band,
Idris Muhammad,
Carl Craig,
Pharaoh Sanders and the Fire Engines,
Bobby Womack,
Harpers Bizarre,
Dual Sessions,
The Walker Brothers,
Make Up,
Drexciya,
Suicide,
Soft Machine,
Goldenarms,
Kevin Saunderson,
Larry & the Blue Notes,
Grauzone,
Gang Starr,
The Young Rascals,
The Index,
The Mummies,
the Slits,
Neu!,
Curtis Mayfield,
The Standells,
It's A Beautiful Day,
Kauko Röyhkä ja Narttu,
Traffic Nightmare,
The Victims,
Colin Newman,
Lebanon Hanover,
Pagans,
Barbara Tucker,
Jerry's Kids,
Glambeats Corp.,
Crooked Eye, Crooked Eye, Crooked Eye, Crooked Eye.
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.