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 Thailand and from Mexico City.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Lyon and Calgary.
I'm losing my edge to the art-school Tokyo 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 marimba 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 Mantronix to the rap 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 10cc. All the underground hits.
All Susan Cadogan tracks. I heard you have a vinyl of every James Chance & The Contortions record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Jesper Dahlbäck record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Make Up,
Bad Manners,
The Doobie Brothers,
Deepchord,
Country Teasers,
the Swans,
Drexciya,
Avey Tare & Kría Brekkan,
Iggy Pop,
Soft Cell,
The Moleskins,
Nik Kershaw,
Ultra Naté,
Barclay James Harvest,
Peter Gordon & Love of Life Orchestra,
Au Pairs,
Thompson Twins,
Röyhkä ja Rättö ja Lehtisalo,
Reagan Youth,
Shuggie Otis,
Sad Lovers and Giants,
Dual Sessions,
Heavy D & The Boyz,
Laurel Aitken,
Sandy B,
Magazine,
The Pop Group,
Soul II Soul,
Mo-Dettes,
Grauzone,
Crispy Ambulance,
Liaisons Dangereuses,
Ultravox,
Joensuu 1685,
DeepChord presents Echospace,
Kool Moe Dee,
Super Lover Cee & Casanova Rud,
Wighnomy Brothers & Robag Wruhme,
Monks,
Derrick Morgan,
Essential Logic,
Liliput,
Curtis Mayfield,
Davy DMX,
Mars,
Oneida,
Blake Baxter,
The Misunderstood,
Dead Boys,
The Pretty Things,
Judy Mowatt,
Bang on a Can All-Stars,
Lebanon Hanover,
T.S.O.L.,
Livin' Joy,
Lee Hazlewood,
Ten City,
Leonard Cohen,
Susan Cadogan,
Lalann,
Don Cherry,
Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux.
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.