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 the UAE and from Lille.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Bologna and Houston.
I'm losing my edge to the art-school Sao Paulo 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the 808 sounds with much patience.
I was there when Lou Reed 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 Lonnie Liston Smith to the funk 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 Bronski Beat. All the underground hits.
All Dead Boys tracks. I heard you have a vinyl of every a-ha record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Isaac Hayes 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?
Buzzcocks,
Deepchord,
Gil Scott Heron,
Tommy Roe,
The Doors,
Ronnie Foster,
Super Lover Cee & Casanova Rud,
Loose Ends,
Ohio Players,
Joey Negro,
The Slits,
Magazine,
The Pop Group,
Avey Tare,
Fugazi,
James Chance & The Contortions,
Sandy B,
Sun City Girls,
Matthew Bourne,
Kenny Larkin,
Man Eating Sloth,
Interpol,
Lucky Dragons,
The Busters,
La Düsseldorf,
Black Pus,
The Divine Comedy,
Boz Scaggs,
Accadde A,
Pet Shop Boys,
Deutsch Amerikanische Freundschaft,
Ash Ra Tempel,
Icehouse,
Eden Ahbez,
Roxette,
Richard Hell and the Voidoids,
The United States of America,
Hashim,
Strawberry Alarm Clock,
Eli Mardock,
Cal Tjader,
Hardrive,
DNA,
Sex Pistols,
Chris Corsano,
Main Source,
the Soft Cell,
Cheater Slicks,
The Remains,
Schoolly D,
Rotary Connection,
the Swans,
Selector Dub Narcotic,
Ralphi Rosario,
Kool G Rap & DJ Polo,
Terrestrial Tones,
Young Marble Giants,
The Victims,
Vladislav Delay,
Harmonia,
ABBA, ABBA, ABBA, ABBA.
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.