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 Austria and from Johannesburg.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Manchester and Lille.
I'm losing my edge to the art-school Calgary 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 rhodes 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 Agent Orange to the electroclash kids.
I played it at CBGB's.
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 Cure. All the underground hits.
All The Sound tracks. I heard you have a vinyl of every The Star Department 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 '60s cut and another box set from the '80s.
I hear you're buying an oboe and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Röyhkä ja Rättö ja Lehtisalo record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joy Division,
The Associates,
The Detroit Cobras,
Young Marble Giants,
Gastr Del Sol,
The Gun Club,
Rotary Connection,
Chris Corsano,
Charles Mingus,
Louis and Bebe Barron,
Siglo XX,
Dual Sessions,
Sight & Sound,
The Tremeloes,
Liaisons Dangereuses,
The New Christs,
Soul II Soul,
Pantaleimon,
Toni Rubio,
Sun Ra,
Fort Wilson Riot,
EPMD,
Massinfluence,
Sparks,
Gang of Four,
Liliput,
Pierre Henry,
Terry Callier,
Deepchord,
Rapeman,
Grauzone,
Sonny Sharrock,
Oneida,
Bobby Sherman,
Amon Düül II,
Leonard Cohen,
The Leaves,
Metal Thangz,
Suicide,
Dead Boys,
The Fuzztones,
Robert Görl,
Banda Bassotti,
Thinking Fellers Union Local 282,
The Velvet Underground,
Yellowson,
Kerri Chandler,
The Zeros,
Cybotron,
Pharaoh Sanders and the Fire Engines,
David McCallum,
Eurythmics,
Piero Umiliani,
Fatback Band,
Sugar Minott,
Newcleus,
Minutemen,
Letta Mbulu,
Marine Girls,
Tropical Tobacco, Tropical Tobacco, Tropical Tobacco, Tropical Tobacco.
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.