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 Suriname and from Jakarta.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Hong Kong and Mumbai.
I'm losing my edge to the art-school Hong Kong 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the marimba sounds with much patience.
I was there when Holger Czukay 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 Ossler to the grime kids.
I played it at the Crocodile.
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 Iggy Pop. All the underground hits.
All Mandrill 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 electroclash 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 chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Drive Like Jehu record.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Whodini,
MC5,
Circle Jerks,
Don Cherry,
The Associates,
Brass Construction,
Curtis Mayfield,
Laurel Aitken,
MDC,
Nick Fraelich,
Lee Hazlewood,
Joe Smooth,
Scratch Acid,
Robert Wyatt,
The Raincoats,
Michelle Simonal,
The Fuzztones,
Los Fastidios,
The Doors,
Yusef Lateef,
Stetsasonic,
Audionom,
The Wake,
The Golliwogs,
The Moleskins,
Khruangbin,
Harpers Bizarre,
Lalo Schifrin,
Janne Schatter,
Adolescents,
UT,
Index,
Röyhkä ja Rättö ja Lehtisalo,
Bang On A Can,
Arthur Verocai,
Kerrie Biddell,
The Remains,
The Mojo Men,
Crooked Eye,
Stereo Dub,
Pagans,
Aaron Thompson,
Mad Mike,
Susan Cadogan,
The Peanut Butter Conspiracy,
Mr. Review,
Second Layer,
Oppenheimer Analysis,
Maurizio,
Banda Bassotti,
The Invisible,
Public Enemy,
Suburban Knight,
The Stooges,
The Martian,
Ossler,
Blancmange,
Bootsy Collins,
Morten Harket,
Hot Snakes,
Magma, Magma, Magma, Magma.
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.