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 Panama and from Lille.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1963 to 1970.
I'm losing my edge.
To all the kids in Beijing and New York.
I'm losing my edge to the art-school Philadelphia 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the snare 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 David Axelrod to the rap 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 Negative Approach. All the underground hits.
All The Sisters of Mercy tracks. I heard you have a vinyl of every Lee Hazlewood 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 '50s cut and another box set from the '80s.
I hear you're buying a theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Chris & Cosey record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DeepChord presents Echospace,
CMW,
Orchestral Manoeuvres in the Dark,
Basic Channel,
Janne Schatter,
Amazonics,
Charles Mingus,
Bang on a Can All-Stars,
The Martian,
Adolescents,
Toni Rubio,
Rotary Connection,
Soul Sonic Force,
The Misunderstood,
the Slits,
Pole,
Lee Hazlewood,
Eyeless In Gaza,
Eve St. Jones,
The Happenings,
Animal Collective,
Sarah Menescal,
Lalo Schifrin,
Section 25,
Darondo,
Crispy Ambulance,
Captain Beefheart & His Magic Band,
Morten Harket,
Throbbing Gristle,
Lakeside,
Rahsaan Roland Kirk,
Todd Rundgren,
L. Decosne,
Monks,
Howard Jones,
John Holt,
Agitation Free,
Banda Bassotti,
The Velvet Underground,
Piero Umiliani,
Derrick May,
Fluxion,
Rufus Thomas,
Soft Machine,
Juan Atkins,
Lungfish,
The Durutti Column,
Funkadelic,
Marshall Jefferson,
The Slackers,
Gil Scott Heron,
Jacob Miller,
Rod Modell,
Intrusion,
Yusef Lateef,
Fort Wilson Riot,
The Seeds,
Avey Tare,
Matthew Bourne,
Röyhkä ja Rättö ja Lehtisalo,
Kurtis Blow, Kurtis Blow, Kurtis Blow, Kurtis Blow.
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.