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 Kuwait and from Delhi.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1971.
I'm losing my edge.
To all the kids in Lyon and London.
I'm losing my edge to the art-school Calgary 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 organ 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 The Birthday Party to the jazz kids.
I played it at the Hacienda.
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 New Order. All the underground hits.
All DeepChord presents Echospace tracks. I heard you have a vinyl of every Derrick May 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 mellotron and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Ultramagnetic MC's record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
CMW,
The Durutti Column,
Black Bananas,
Jeff Mills,
In Retrospect,
The Golliwogs,
Nick Fraelich,
Gian Franco Pienzio,
Maurizio,
Jesper Dahlbäck,
Kool Moe Dee,
Lebanon Hanover,
Infiniti,
The Tremeloes,
Suburban Knight,
Arthur Verocai,
Dorothy Ashby,
Electric Light Orchestra,
Symarip,
Be Bop Deluxe,
Intrusion,
Jandek,
Robert Görl,
Roger Hodgson,
Soulsonic Force,
Howard Jones,
Excepter,
Skriet,
Avey Tare's Slasher Flicks,
Monolake,
the Swans,
Fat Boys,
Pantytec,
Nik Kershaw,
Ornette Coleman,
Man Parrish,
Avey Tare & Kría Brekkan,
James Chance & The Contortions,
Rod Modell,
Gary Puckett & The Union Gap,
The Cramps,
Sound Behaviour,
The Cure,
Tomorrow,
The Mojo Men,
Minutemen,
Outsiders,
Gichy Dan,
a-ha,
Massinfluence,
Gregory Isaacs,
The Happenings,
The Sisters of Mercy,
Soul II Soul,
Boredoms,
Surgeon,
Angels of Light & Akron/Family,
Gil Scott Heron,
The Cowsills,
Major Organ And The Adding Machine,
Stiv Bators,
Idris Muhammad, Idris Muhammad, Idris Muhammad, Idris Muhammad.
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.