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 Copenhagen.
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 1967 to 1975.
I'm losing my edge.
To all the kids in New York and Columbus.
I'm losing my edge to the art-school Cairo 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the synthesizer 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 Pere Ubu to the grunge 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 Peter & Gordon. All the underground hits.
All The Walker Brothers tracks. I heard you have a vinyl of every The Men They Couldn't Hang 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 '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Erasure record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deadbeat,
Dorothy Ashby,
Gabor Szabo,
Warren Ellis,
The Skatalites,
DeepChord presents Echospace,
Anthony Braxton,
A Flock of Seagulls,
Donny Hathaway,
Brass Construction,
Major Organ And The Adding Machine,
Circle Jerks,
CMW,
The Sound,
Amazonics,
Jerry Gold Smith,
Marc Romboy vs. Booka Shade,
Minutemen,
The Golliwogs,
The Dave Clark Five,
Nils Olav,
Jesper Dahlbäck,
Pharaoh Sanders and the Fire Engines,
Pulsallama,
Jimmy McGriff,
Chrome,
The Dirtbombs,
Red Lorry Yellow Lorry,
Zapp,
B.T. Express,
Angels of Light & Akron/Family,
Camouflage,
Babytalk,
Archie Shepp,
Traffic Nightmare,
Absolute Body Control,
The Blues Magoos,
Selector Dub Narcotic,
Brand Nubian,
Scratch Acid,
Rhythim Is Rhythim,
the Soft Cell,
Y Pants,
Dark Day,
New York Dolls,
Teenage Jesus and the Jerks,
Black Pus,
Cabaret Voltaire,
Colin Newman,
Spandau Ballet,
Fort Wilson Riot,
The Pop Group,
The Five Americans,
Jerry's Kids,
Maleditus Sound,
June of 44,
Black Bananas,
Sam Rivers,
Sun Ra,
Wolf Eyes,
The Dead C, The Dead C, The Dead C, The Dead C.
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.