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 Kenya and from Mexico City.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Sao Paulo and Edmonton.
I'm losing my edge to the art-school Edmonton 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the guitar 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 Bootsy Collins 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 Boz Scaggs. All the underground hits.
All Wire tracks. I heard you have a vinyl of every The Detroit Cobras 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 '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Bang On A Can record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Au Pairs,
Whodini,
CMW,
Bootsy Collins,
Joensuu 1685,
DJ Style,
Oppenheimer Analysis,
Black Flag,
Swell Maps,
Scrapy,
Mad Mike,
Frankie Knuckles,
The Invisible,
Sad Lovers and Giants,
Yaz,
Nirvana,
Crooked Eye,
John Coltrane,
Quadrant,
Wings,
Camberwell Now,
Ponytail,
Wally Richardson,
Skriet,
Newcleus,
Orchestral Manoeuvres in the Dark,
Crispy Ambulance,
Technova,
Anakelly,
Grandmaster Flash and the Furious Five,
Graham Central Station,
the Germs,
Mars,
Pere Ubu,
LL Cool J,
The Modern Lovers,
Oblivians,
Bad Manners,
Metal Thangz,
Stetsasonic,
Pete Rock & C.L. Smooth,
Zero Boys,
Visionaries,LMNO, T- Love & Iriscience,
The Misunderstood,
Pulsallama,
The American Breed,
Rapeman,
Moebius,
Matthew Halsall,
Angry Samoans,
Nico,
Electric Prunes,
Excepter,
Y Pants,
The Mojo Men,
Connie Case,
Maleditus Sound,
Idris Muhammad,
U.S. Maple,
Gary Puckett & The Union Gap,
Ludus, Ludus, Ludus, Ludus.
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.