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 Kosovo and from Sao Paulo.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Shanghai and Spokane.
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 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 Robert Palmer 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 Blake Baxter to the dance kids.
I played it at the Crocodile.
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 Isaac Hayes. All the underground hits.
All Jimmy McGriff tracks. I heard you have a vinyl of every Selector Dub Narcotic record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a linndrum and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Faust record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Slits,
The Alarm Clocks,
Von Mondo,
Bauhaus,
Robert Wyatt,
Country Teasers,
La Düsseldorf,
June Days,
Crash Course in Science,
Donny Hathaway,
Dual Sessions,
Clear Light,
Y Pants,
Avey Tare's Slasher Flicks,
Soft Cell,
Sex Pistols,
KRS-One,
Sonic Youth,
Radiopuhelimet,
Motorama,
Pulsallama,
Livin' Joy,
The Remains,
Arcadia,
These Immortal Souls,
Stereo Dub,
Pere Ubu,
Alison Limerick,
Nik Kershaw,
Grey Daturas,
The Neon Judgement,
Shoche,
Wighnomy Brothers & Robag Wruhme,
Iggy Pop,
10cc,
Super Lover Cee & Casanova Rud,
The Victims,
Eric Dolphy,
Zapp,
Dave Gahan,
The Toasters,
Faust,
H. Thieme,
Scion,
The Offenders,
Fad Gadget,
The Modern Lovers,
Kauko Röyhkä ja Narttu,
Josef K,
N.O.R.E. Featuring Pharrell,
Dark Day,
Roger Hodgson,
Unrelated Segments,
Neu!,
Notorious BIG live in Amsterdam,
Interpol,
The Raincoats,
Harmonia,
Röyhkä ja Rättö ja Lehtisalo,
Skarface,
The Cure,
Sam Rivers, Sam Rivers, Sam Rivers, Sam Rivers.
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.