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 Ethiopia and from Columbus.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1970.
I'm losing my edge.
To all the kids in Jakarta and Lille.
I'm losing my edge to the art-school Jakarta 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 chamberlin 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 DNA to the grime kids.
I played it at CBGB's.
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 Jacques Brel. All the underground hits.
All Franke tracks. I heard you have a vinyl of every The Fugs record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a A Certain Ratio record.
I hear that you and your band have sold your sitar and bought a güiro.
I hear that you and your band have sold your güiro and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Danielle Patucci,
Cabaret Voltaire,
Public Image Ltd.,
The Fuzztones,
Fugazi,
Lindisfarne,
The Blackbyrds,
Depeche Mode,
The Motions,
Television Personalities,
Fear,
Camron Feat. Memphis Bleek And Beenie Seigel,
Jeru the Damaja,
Bronski Beat,
Quadrant,
Kauko Röyhkä ja Narttu,
Gichy Dan,
Masters at Work,
Rotary Connection,
Davy DMX,
kango's stein massive,
Robert Hood,
Public Enemy,
Heaven 17,
Ituana,
Jandek,
The Invisible,
Alton Ellis,
The Tremeloes,
Harmonia,
The Cramps,
Boogie Down Productions,
the Swans,
Justin Hinds & The Dominoes,
Bill Near,
Main Source,
X-102,
Duran Duran,
Roy Ayers Ubiquity,
The Leaves,
Black Pus,
Y Pants,
Faust,
John Cale,
Rhythm & Sound,
Marmalade,
Patti Smith,
Dark Day,
Joensuu 1685,
Amazonics,
Lizzy Mercier Descloux,
Intrusion,
Sister Nancy,
Hashim,
Au Pairs,
Beasts of Bourbon,
The Young Rascals,
The Durutti Column,
The Shadows of Knight,
Visage,
Maurizio,
James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions.
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.