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 Honduras and from Portland.
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 1963 to 1979.
I'm losing my edge.
To all the kids in New York and Bologna.
I'm losing my edge to the art-school Stockholm 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 1976 at the first Wire practice in a loft in Watford.
I was working on the güiro 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 The Divine Comedy to the rap kids.
I played it at Trash.
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 Röyhkä ja Rättö ja Lehtisalo. All the underground hits.
All Qualms tracks. I heard you have a vinyl of every Tomorrow record on German import.
I heard that you have a white label of every seminal funk 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 guitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Pulsallama record.
I hear that you and your band have sold your mellotron and bought a 808.
I hear that you and your band have sold your 808 and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Warsaw,
The Doors,
Joe Smooth,
Deadbeat,
Minnie Riperton,
the Human League,
Yusef Lateef,
Idris Muhammad,
Graham Central Station,
Magazine,
Marcia Griffiths,
Gang Green,
Camron Feat. Memphis Bleek And Beenie Seigel,
Con Funk Shun,
Freddie Wadling,
The Birthday Party,
Mo-Dettes,
Gary Puckett & The Union Gap,
Agitation Free,
Joyce Sims,
Kenny Larkin,
The West Coast Pop Art Experimental Band,
Faraquet,
MC5,
Groovy Waters,
Kas Product,
Talk Talk,
Amon Düül,
The United States of America,
The Monks,
Camouflage,
Eyeless In Gaza,
Sam Rivers,
Robert Görl,
Theoretical Girls,
K-Klass,
Unwound,
Ossler,
Massinfluence,
De La Soul & Jungle Brothers,
Chris & Cosey,
The Busters,
Scientists,
L. Decosne,
James White and The Blacks,
Oppenheimer Analysis,
The Wake,
48th St. Collective,
Maleditus Sound,
Curtis Mayfield,
Rhythim Is Rhythim,
Barry Ungar,
Susan Cadogan,
Bobby Womack,
Main Source,
Zero Boys,
Todd Terry,
Yazoo,
Fort Wilson Riot,
Desert Stars,
Moby Grape,
Radiohead,
The Cowsills,
Spandau Ballet, Spandau Ballet, Spandau Ballet, Spandau Ballet.
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.