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 Niger and from Mumbai.
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 Milan and Tokyo.
I'm losing my edge to the art-school Delhi 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the chamberlin sounds with much patience.
I was there when Holger Czukay 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 Kango’s Stein Massive to the punk kids.
I played it at the Troubador.
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 Steve Hackett. All the underground hits.
All Minutemen 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 grime 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 an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Boredoms record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Shoche,
Little Man,
Supertramp,
Ultra Naté,
The Birthday Party,
PIL,
The Gories,
The Invisible,
Eric B and Rakim,
Drexciya,
The Dead C,
Pantytec,
Lee Hazlewood,
Crash Course in Science,
The Mojo Men,
Angry Samoans,
Sonny Sharrock,
Lucky Dragons,
the Soft Cell,
Visionaries,LMNO, T- Love & Iriscience,
Barbara Tucker,
Brick,
Panda Bear,
The Associates,
Black Bananas,
the Sonics,
Camouflage,
The Misunderstood,
Scott Walker + Sunn O))),
Cymande,
Gang Gang Dance,
Carl Craig,
Moss Icon,
Robert Wyatt,
The Beau Brummels,
Gong,
Metal Thangz,
Laurel Aitken,
Icehouse,
Rhythm & Sound,
A Flock of Seagulls,
Crispy Ambulance,
Symarip,
Bronski Beat,
Junior Murvin,
DNA,
Pharoah Sanders,
Y Pants,
Avey Tare,
Big Daddy Kane,
Deutsch Amerikanische Freundschaft,
Dead Boys,
Chris Corsano,
Derrick May,
The Shadows of Knight,
Wolf Eyes,
Fluxion,
Stiv Bators,
The Electric Prunes,
Teenage Jesus and the Jerks,
Jandek,
Dawn Penn, Dawn Penn, Dawn Penn, Dawn Penn.
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.