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 Colombia and from Woodstock.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Hong Kong and Houston.
I'm losing my edge to the art-school Portland 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 linndrum 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 Sound Behaviour to the punk 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 Warren Ellis. All the underground hits.
All Boogie Down Productions tracks. I heard you have a vinyl of every Soft Machine record on German import.
I heard that you have a white label of every seminal electroclash 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 a 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Deepchord record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gichy Dan,
Jerry's Kids,
Neil Young,
Glambeats Corp.,
The Chocolate Watch Band,
Camron Feat. Memphis Bleek And Beenie Seigel,
Subhumans,
Ash Ra Tempel,
Dennis Brown,
The Golliwogs,
Eli Mardock,
Drexciya,
ABC,
Teenage Jesus and the Jerks,
Scan 7,
Adolescents,
The Skatalites,
Jeff Lynne,
Wolf Eyes,
Alton Ellis,
the Association,
The Moleskins,
The Motions,
Ultravox,
Pussy Galore,
Yusef Lateef,
Tropical Tobacco,
Alphaville,
Mr. Review,
Lalann,
The Index,
Rekid,
Liliput,
Fort Wilson Riot,
Tomorrow,
Arthur Verocai,
Major Organ And The Adding Machine,
Maleditus Sound,
A Certain Ratio,
Gil Scott-Heron and Jamie xx,
Bootsy's Rubber Band,
Siouxsie and the Banshees,
Porter Ricks,
Clear Light,
Ajijia Myrayebe,
Ice-T,
The Wake,
F. McDonald,
Goldenarms,
Art Ensemble Of Chicago,
the Soft Cell,
Arab on Radar,
Henry Cow,
Scientists,
Camouflage,
Al Stewart,
Susan Cadogan,
The Doors,
Swans,
Yaz, Yaz, Yaz, Yaz.
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.