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 Montenegro and from Accra.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1968 to 1975.
I'm losing my edge.
To all the kids in Tehran and Houston.
I'm losing my edge to the art-school Halifax 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 rhodes sounds with much patience.
I was there when Michael McDonald 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 Japan to the electroclash kids.
I played it at the Roxy.
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 Dark Day. All the underground hits.
All Jandek tracks. I heard you have a vinyl of every Minor Threat record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an oboe and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Wasted Youth record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DeepChord presents Echospace,
B.T. Express,
Lebanon Hanover,
Camron Feat. Memphis Bleek And Beenie Seigel,
Kevin Saunderson,
Nick Cave & The Bad Seeds,
The Invisible,
8 Eyed Spy,
Grey Daturas,
Stetsasonic,
Josef K,
Scrapy,
A Flock of Seagulls,
The Evens,
Sun Ra,
Surgeon,
Nils Olav,
Barry Ungar,
Be Bop Deluxe,
CMW,
The Seeds,
Radiohead,
Soul II Soul,
Hardrive,
Brick,
Gang Starr,
Pet Shop Boys,
Jeff Mills,
Dennis Brown,
Pagans,
Big Daddy Kane,
Shoche,
Teenage Jesus and the Jerks,
Byron Stingily,
La Düsseldorf,
Sight & Sound,
Glambeats Corp.,
Japan,
David McCallum,
Chris Corsano,
Susan Cadogan,
Model 500,
The Grass Roots,
The Human League,
Bluetip,
Juan Atkins,
New York Dolls,
Nik Kershaw,
Leonard Cohen,
Cabaret Voltaire,
The Red Krayola,
Kool G Rap & DJ Polo,
the Sonics,
Spandau Ballet,
Animal Collective,
Liliput,
the Soft Cell,
Black Sheep,
John Lydon,
Pole,
Arcadia,
Mr. Review,
Fear, Fear, Fear, Fear.
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.