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 Malawi and from Calgary.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1963 to 1970.
I'm losing my edge.
To all the kids in Manchester and Jakarta.
I'm losing my edge to the art-school Lille 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 sitar sounds with much patience.
I was there when Tom Verlaine 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 Erasure to the electroclash kids.
I played it at the 40 Watt.
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 The Evens. All the underground hits.
All The Busters tracks. I heard you have a vinyl of every Warren Ellis record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a kango's stein massive record.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DeepChord presents Echospace,
Index,
John Lydon,
the Fania All-Stars,
Stockholm Monsters,
The Cure,
Pylon,
UT,
ABBA,
Bootsy Collins,
Andrew Ashong & Theo Parrish,
Bill Wells,
The Techniques,
Lightning Bolt,
Mr. Review,
Dead Boys,
Blossom Toes,
Cybotron,
Selector Dub Narcotic,
Dennis Brown,
Royal Trux,
Yazoo,
Scion,
Sam Rivers,
Scan 7,
Aaron Thompson,
Amon Düül II,
Country Joe & The Fish,
Delta 5,
Grandmaster Flash and the Furious Five,
The Fire Engines,
Jesper Dahlback,
Yaz,
Magazine,
Liaisons Dangereuses,
Grey Daturas,
Underground Resistance,
Pete Rock & C.L. Smooth,
Ajijia Myrayebe,
Roy Ayers Ubiquity,
Electric Light Orchestra,
Saccharine Trust,
Mo-Dettes,
Swans,
Howard Jones,
The Fortunes,
Quadrant,
Model 500,
Orchestral Manoeuvres in the Dark,
The Cramps,
Amon Düül,
Pantaleimon,
The Slackers,
Kauko Röyhkä ja Narttu,
Jacob Miller,
Gregory Isaacs,
Tomorrow,
Das Ding,
Radiohead,
The Sound,
Lou Reed & Metallica,
The Young Rascals, The Young Rascals, The Young Rascals, The Young Rascals.
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.