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 Copenhagen.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1970.
I'm losing my edge.
To all the kids in Houston and Beijing.
I'm losing my edge to the art-school Madrid 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 snare sounds with much patience.
I was there when Captain Beefheart 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 Marine Girls to the rap 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 Basic Channel. All the underground hits.
All Lightning Bolt tracks. I heard you have a vinyl of every Nils Olav 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 '70s cut and another box set from the '70s.
I hear you're buying a synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Radiopuhelimet record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Section 25,
Yellowson,
Ultra Naté,
Roxy Music,
Black Bananas,
a-ha,
Judy Mowatt,
James Chance & The Contortions,
De La Soul & Jungle Brothers,
The New Christs,
Underground Resistance,
The Mummies,
Leonard Cohen,
Kool G Rap & DJ Polo,
Howard Jones,
Jacques Brel,
Simply Red,
Easy Going,
Deakin,
Morten Harket,
Suicide,
Aloha Tigers,
Kayak,
Buzzcocks,
Zero Boys,
Fat Boys,
Main Source,
The Chocolate Watch Band,
Dave Gahan,
Rekid,
Tom Boy,
Frankie Knuckles,
Gerry Rafferty,
Gang Gang Dance,
FM Einheit,
Aaron Thompson,
Bob Dylan,
Camberwell Now,
Fela Kuti,
Lizzy Mercier Descloux,
Electric Light Orchestra,
F. McDonald,
Marcia Griffiths,
Reuben Wilson,
Brass Construction,
Graham Central Station,
Bronski Beat,
Quantec,
Stereo Dub,
Bang On A Can,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Y Pants,
A Flock of Seagulls,
Sly & The Family Stone,
Mo-Dettes,
The Buckinghams,
Minor Threat,
Swans,
Circle Jerks,
Hoover,
Fifty Foot Hose,
ABBA,
Blancmange, Blancmange, Blancmange, Blancmange.
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.