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 Palau and from Edmonton.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1976.
I'm losing my edge.
To all the kids in Winnipeg and Hong Kong.
I'm losing my edge to the art-school Lyon 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 clarinet 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 Cluster to the disco kids.
I played it at the Spitz.
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 Moby Grape. All the underground hits.
All Fatback Band tracks. I heard you have a vinyl of every Glenn Branca record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a sitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Deadbeat record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Lydon,
Peter & Gordon,
Negative Approach,
kango's stein massive,
Lebanon Hanover,
Unwound,
Franke,
Brand Nubian,
Oneida,
Selector Dub Narcotic,
Alton Ellis,
The Shadows of Knight,
Rekid,
Dave Gahan,
Mark Hollis,
The Selecter,
New Age Steppers,
Spandau Ballet,
Niagra,
Art Ensemble Of Chicago,
X-Ray Spex,
Cluster,
Terror Squad Feat. Camron,
48th St. Collective,
Rosa Yemen,
Japan,
Icehouse,
Joyce Sims,
Moebius,
Country Joe & The Fish,
Lafayette Afro Rock Band,
Pete Rock & C.L. Smooth,
Barrington Levy,
Public Image Ltd.,
The Durutti Column,
The Star Department,
Sugar Minott,
Zero Boys,
Mandrill,
Moby Grape,
Magazine,
The Pop Group,
The Standells,
Slick Rick,
Main Source,
Terry Callier,
Cal Tjader,
EPMD,
Lower 48,
John Coltrane,
Peter Gordon & Love of Life Orchestra,
Tubeway Army,
Outsiders,
Piero Umiliani,
The Smiths,
Infiniti,
Brass Construction,
Donald Byrd,
B.T. Express,
Ponytail,
Steve Hackett,
Aaron Thompson,
the Soft Cell,
Robert Wyatt, Robert Wyatt, Robert Wyatt, Robert Wyatt.
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.