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 Nigeria and from Woodstock.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Philadelphia and Manila.
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 harpsichord sounds with much patience.
I was there when Captain Beefheart 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 The Leaves to the techno kids.
I played it at the 40 Watt.
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 Ajijia Myrayebe. All the underground hits.
All Das Ding tracks. I heard you have a vinyl of every The Alarm Clocks record on German import.
I heard that you have a white label of every seminal jazz 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 güiro and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Chrome record.
I hear that you and your band have sold your oboe and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Flesh Eaters,
Faraquet,
Young Marble Giants,
David Axelrod,
Groovy Waters,
Underground Resistance,
The Barracudas,
Roxy Music,
Chris & Cosey,
The Mighty Diamonds,
Robert Görl,
Duran Duran,
Shoche,
Dr. Dre and Snoop Doggy Dog,
The Mojo Men,
Q and Not U,
Jawbox,
the Soft Cell,
Monks,
Kool G Rap & DJ Polo,
L. Decosne,
R.M.O.,
The Doors,
In Retrospect,
Orchestral Manoeuvres in the Dark,
Hasil Adkins,
Liaisons Dangereuses,
Gregory Isaacs,
Desert Stars,
Jandek,
Flipper,
The Wake,
The Martian,
The Remains,
Ponytail,
Crime,
Lee Hazlewood,
Maleditus Sound,
Frankie Knuckles,
The Mummies,
Bill Wells,
ABC,
The Walker Brothers,
Cymande,
Henry Cow,
Derrick Morgan,
Marmalade,
Gil Scott Heron,
Bronski Beat,
Los Fastidios,
Brass Construction,
Blossom Toes,
Maurizio,
Scott Walker,
Eric Dolphy,
The Shadows of Knight,
PIL,
Jerry's Kids,
Clear Light,
Grauzone,
DNA,
Procol Harum,
Sarah Menescal,
Donny Hathaway, Donny Hathaway, Donny Hathaway, Donny Hathaway.
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.