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 Malaysia and from Spokane.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Delhi and Johannesburg.
I'm losing my edge to the art-school Lagos 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 theremin sounds with much patience.
I was there when David Bowie 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 U.S. Maple to the rock 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 Michelle Simonal. All the underground hits.
All Albert Ayler tracks. I heard you have a vinyl of every Liaisons Dangereuses record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a linndrum and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Hardrive record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nils Olav,
Hashim,
Radiopuhelimet,
The Walker Brothers,
Alice Coltrane,
Marcia Griffiths,
Bronski Beat,
Jerry Gold Smith,
Marine Girls,
Blossom Toes,
David McCallum,
The Happenings,
F. McDonald,
In Retrospect,
Alphaville,
Shuggie Otis,
Bauhaus,
Symarip,
K-Klass,
Black Flag,
Tim Buckley,
Eli Mardock,
Average White Band,
Glambeats Corp.,
Sandy B,
Quantec,
The Motions,
Pet Shop Boys,
Magazine,
Marc Almond,
Alton Ellis,
The Black Dice,
Eric Dolphy,
Leonard Cohen,
Toni Rubio,
Moebius,
The Pop Group,
Michelle Simonal,
Eurythmics,
Nirvana,
Heaven 17,
Con Funk Shun,
The Victims,
Lee Hazlewood,
Black Pus,
Gary Puckett & The Union Gap,
The Moody Blues,
Aswad,
The Music Machine,
Beasts of Bourbon,
Gerry Rafferty,
Connie Case,
Lou Christie,
Skriet,
The Pretty Things,
Make Up,
The Cowsills,
Slave,
Saccharine Trust,
Eddi Front, Eddi Front, Eddi Front, Eddi Front.
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.