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 Taiwan and from Edmonton.
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 Columbus and Madrid.
I'm losing my edge to the art-school London 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the 808 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 MDC to the disco kids.
I played it at Trash.
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 Deakin. All the underground hits.
All Can tracks. I heard you have a vinyl of every Bad Manners record on German import.
I heard that you have a white label of every seminal jazz 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 harpsichord and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Orchestral Manoeuvres in the Dark record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Throbbing Gristle,
Yusef Lateef,
The Blues Magoos,
The Divine Comedy,
Bill Wells,
Andrew Ashong & Theo Parrish,
Can,
Jawbox,
Justin Hinds & The Dominoes,
Y Pants,
Oneida,
Gichy Dan,
Dark Day,
Royal Trux,
Pere Ubu,
Underground Resistance,
Traffic Nightmare,
Henry Cow,
Eddi Front,
Mantronix,
Ronnie Foster,
One Last Wish,
Yazoo,
Wolf Eyes,
Joe Smooth,
Outsiders,
Nation of Ulysses,
Black Sheep,
Talk Talk,
UT,
Sun Ra Arkestra,
Marmalade,
Albert Ayler,
The Residents,
Pantaleimon,
the Fania All-Stars,
Deutsch Amerikanische Freundschaft,
Nas,
Minor Threat,
Blake Baxter,
Idris Muhammad,
Scratch Acid,
New Order,
Niagra,
The Five Americans,
Glenn Branca,
Monolake,
The Count Five,
Rites of Spring,
Cymande,
Vaughan Mason & Crew,
U.S. Maple,
Barclay James Harvest,
The Men They Couldn't Hang,
CMW,
Ponytail,
Thinking Fellers Union Local 282,
Neil Young & Crazy Horse,
The Gories, The Gories, The Gories, The Gories.
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.