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 Uganda and from Portland.
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 1969 to 1974.
I'm losing my edge.
To all the kids in London and Copenhagen.
I'm losing my edge to the art-school Salvador 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 sitar sounds with much patience.
I was there when Donald Fagen 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 Ultramagnetic MC's to the electroclash 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 Joey Negro. All the underground hits.
All The Doobie Brothers tracks. I heard you have a vinyl of every Tommy Roe record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a linndrum and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a China Crisis record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
La Düsseldorf,
Letta Mbulu,
Stiv Bators,
MC5,
Malaria!,
Sunsets and Hearts,
The Skatalites,
Main Source,
DNA,
T. Rex,
In Retrospect,
The Gories,
London Community Gospel Choir,
Deepchord,
Eurythmics,
Thompson Twins,
Visage,
Eddi Front,
Josef K,
Lalann,
H. Thieme,
Avey Tare,
New Order,
Radiohead,
Bobbi Humphrey,
Youth Brigade,
The Birthday Party,
Maurizio,
The Divine Comedy,
Royal Trux,
Wire,
Pole,
The Shadows of Knight,
Henry Cow,
Kas Product,
Khruangbin,
Ludus,
Big Daddy Kane,
Unrelated Segments,
Make Up,
Swans,
Manfred Mann's Earth Band,
The Doobie Brothers,
David Axelrod,
Organ,
Index,
Angry Samoans,
Lucky Dragons,
The Blackbyrds,
Newcleus,
The Cramps,
The Vogues,
DJ Style,
James Chance & The Contortions,
Terrestrial Tones,
The New Christs,
Sandy B,
The Motions,
Quantec,
The Evens,
Accadde A,
Susan Cadogan,
Roxette, Roxette, Roxette, Roxette.
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.