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 Macedonia and from Houston.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Winnipeg and London.
I'm losing my edge to the art-school Tehran 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when Robert Palmer 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 Notorious Big And Bone Thugs to the punk 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 Mary Jane Girls. All the underground hits.
All UT tracks. I heard you have a vinyl of every Bobby Byrd record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a harpsichord and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Anthony Braxton record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DeepChord presents Echospace,
Con Funk Shun,
Nirvana,
Steve Hackett,
Camberwell Now,
The Fugs,
Symarip,
The Remains,
Monolake,
Amazonics,
The Trojans,
Prince Buster,
Faust,
Lalann,
Janne Schatter,
Mars,
The Five Americans,
New Age Steppers,
Johnny Osbourne,
Marshall Jefferson,
Peter and Kerry,
Bang on a Can All-Stars,
Tom Boy,
Wire,
ABBA,
Agitation Free,
Isaac Hayes,
Funky Four + One,
The Pretty Things,
Darondo,
Half Japanese,
The Buckinghams,
Byron Stingily,
Gastr Del Sol,
Quantec,
Jandek,
Public Enemy,
The Peanut Butter Conspiracy,
Graham Central Station,
The Cowsills,
Michelle Simonal,
Sällskapet,
Lightning Bolt,
Alphaville,
Ash Ra Tempel,
Can,
Crispian St. Peters,
Pharoah Sanders,
Albert Ayler,
the Sonics,
Harmonia,
Man Parrish,
Frankie Knuckles,
Dave Gahan,
Depeche Mode,
Pussy Galore,
In Retrospect,
The Young Rascals,
Smog,
Country Joe & The Fish,
The Sound,
Anthony Braxton,
The Busters,
F. McDonald, F. McDonald, F. McDonald, F. McDonald.
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.