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 Micronesia and from Calgary.
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 1979.
I'm losing my edge.
To all the kids in Woodstock and Manchester.
I'm losing my edge to the art-school Bremen 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 Zapp practice in a loft in Hamilton.
I was working on the marimba sounds with much patience.
I was there when Nile Rodgers 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 Barry Ungar to the techno 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 The Moody Blues. All the underground hits.
All Gichy Dan tracks. I heard you have a vinyl of every Quadrant record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Pussy Galore record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Orchestral Manoeuvres in the Dark,
Pete Rock & C.L. Smooth,
Sex Pistols,
Youth Brigade,
Aloha Tigers,
Cheater Slicks,
Alison Limerick,
Sister Nancy,
Fifty Foot Hose,
Mars,
The Mummies,
Traffic Nightmare,
Sad Lovers and Giants,
Hoover,
LL Cool J,
Sparks,
Skarface,
Gabor Szabo,
Unwound,
Masters at Work,
Groovy Waters,
Bad Manners,
Deepchord,
U.S. Maple,
Index,
The Wake,
Rowland S Howard / Lydia Lunch,
The Chocolate Watch Band,
Connie Case,
Drive Like Jehu,
Easy Going,
Grauzone,
Y Pants,
Ice-T,
Lou Reed & Metallica,
Schoolly D,
The United States of America,
Mr. Review,
Pagans,
Strawberry Alarm Clock,
Glambeats Corp.,
Heavy D & The Boyz,
Oblivians,
Neil Young,
Jeff Mills,
Michelle Simonal,
T. Rex,
Lonnie Liston Smith,
New York Dolls,
Bobby Hutcherson,
Amon Düül II,
Charles Mingus,
Symarip,
Roxette,
The Move,
Gang Gang Dance,
Depeche Mode,
Niagra,
Sonny Sharrock,
Dead Boys,
The Five Americans,
Flipper,
Peter & Gordon,
Jesper Dahlback, Jesper Dahlback, Jesper Dahlback, Jesper Dahlback.
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.