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 Ivory Coast and from Mumbai.
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 1971.
I'm losing my edge.
To all the kids in Copenhagen and Spokane.
I'm losing my edge to the art-school Halifax 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the 808 sounds with much patience.
I was there when Michael McDonald 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 48th St. Collective to the electroclash kids.
I played it at the Hacienda.
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 Royal Trux. All the underground hits.
All Hashim tracks. I heard you have a vinyl of every Model 500 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 '50s cut and another box set from the '70s.
I hear you're buying a güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Das Ding record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Connie Case,
Blake Baxter,
The Birthday Party,
Lou Christie,
Sad Lovers and Giants,
the Soft Cell,
Cal Tjader,
Henry Cow,
X-101,
The Men They Couldn't Hang,
Roxy Music,
The Fire Engines,
Kaleidoscope,
Dual Sessions,
Quantec,
Stereo Dub,
DJ Sneak,
Surgeon,
Crime,
Bluetip,
Eddi Front,
Gichy Dan,
Jacques Brel,
Accadde A,
Angels of Light & Akron/Family,
The Detroit Cobras,
Los Fastidios,
The Cure,
The Doors,
Skaos,
It's A Beautiful Day,
Andrew Ashong & Theo Parrish,
Infiniti,
The Angels of Light,
Bob Dylan,
The Blues Magoos,
DeepChord presents Echospace,
The Fortunes,
The Young Rascals,
Motorama,
The Blackbyrds,
The Barracudas,
Cecil Taylor,
Jandek,
Brass Construction,
Nick Fraelich,
Metal Thangz,
Unwound,
Captain Beefheart & His Magic Band,
Ten City,
The Monochrome Set,
Scientists,
The Saints,
DNA,
Skriet,
Animal Collective,
Cabaret Voltaire,
Sticky Fingaz feat. Raekwon,
Sun Ra,
Laurel Aitken,
Leonard Cohen,
Warren Ellis, Warren Ellis, Warren Ellis, Warren Ellis.
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.