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 Mexico and from Shanghai.
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 1973.
I'm losing my edge.
To all the kids in Johannesburg and Delhi.
I'm losing my edge to the art-school Winnipeg 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 Mistral practice in a loft in Amsterdam.
I was working on the theremin sounds with much patience.
I was there when Tom Verlaine 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 Richard Hell and the Voidoids to the disco kids.
I played it at the Spitz.
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 Model 500. All the underground hits.
All Gian Franco Pienzio tracks. I heard you have a vinyl of every Pole record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a marimba and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Pantaleimon record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blancmange,
Albert Ayler,
Gil Scott Heron,
Mantronix,
Sly & The Family Stone,
The Motions,
Dave Gahan,
Sexual Harrassment,
Joey Negro,
Wolf Eyes,
DeepChord presents Echospace,
Pere Ubu,
Be Bop Deluxe,
The Mojo Men,
Sex Pistols,
Barry Ungar,
Jeru the Damaja,
Rosa Yemen,
Kayak,
Lungfish,
Soft Machine,
Roger Hodgson,
The Sonics,
La Düsseldorf,
Kauko Röyhkä ja Narttu,
Bush Tetras,
The Jesus and Mary Chain,
The Young Rascals,
Soul Sonic Force,
The Doors,
Pharaoh Sanders and the Fire Engines,
Delta 5,
Fad Gadget,
Newcleus,
Susan Cadogan,
Panda Bear,
Siouxsie and the Banshees,
Gastr Del Sol,
Model 500,
Ultimate Spinach,
Alton Ellis,
One Last Wish,
Morten Harket,
The Gap Band,
the Soft Cell,
Andrew Ashong & Theo Parrish,
The Fugs,
The Doobie Brothers,
Röyhkä ja Rättö ja Lehtisalo,
Sarah Menescal,
Bill Wells,
The United States of America,
Don Cherry,
The New Christs,
Excepter,
Colin Newman,
Maurizio,
Nils Olav,
The Leaves,
Lizzy Mercier Descloux,
Harry Pussy,
Godley & Creme,
Rapeman, Rapeman, Rapeman, Rapeman.
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.