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 Tunisia and from Milan.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Salvador and Philadelphia.
I'm losing my edge to the art-school Jakarta 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 1978 at the first Visage practice in a loft in London.
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 Sun Ra to the techno kids.
I played it at the Crocodile.
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 The Selecter. All the underground hits.
All Robert Hood tracks. I heard you have a vinyl of every Throbbing Gristle 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 '60s cut and another box set from the '70s.
I hear you're buying a harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Michelle Simonal record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Human League,
K-Klass,
Camron Feat. Memphis Bleek And Beenie Seigel,
Parry Music,
Gichy Dan,
The Smiths,
Infiniti,
Television Personalities,
Kenny Larkin,
Yellowson,
Rosa Yemen,
Babytalk,
Notorious Big And Bone Thugs,
Funkadelic,
Yaz,
Terrestrial Tones,
The Red Krayola,
A Certain Ratio,
The Barracudas,
Fat Boys,
Joensuu 1685,
David Axelrod,
The West Coast Pop Art Experimental Band,
Unwound,
Eric B and Rakim,
The Chocolate Watch Band,
H. Thieme,
Jeru the Damaja,
The Moody Blues,
The Blues Magoos,
The Moleskins,
Justin Hinds & The Dominoes,
Reagan Youth,
Lower 48,
Zero Boys,
Rites of Spring,
John Coltrane,
The Cosmic Jokers,
Ohio Players,
Richard Hell and the Voidoids,
Echo & the Bunnymen,
Lee Hazlewood,
Soft Cell,
Roxette,
Bang on a Can All-Stars,
The Fuzztones,
Peter Gordon & Love of Life Orchestra,
Hashim,
Groovy Waters,
Tommy Roe,
Cameo,
Blossom Toes,
Masters at Work,
Liliput,
Sällskapet,
The Sisters of Mercy,
KRS-One,
Lou Reed & Metallica,
The Slackers,
Oblivians, Oblivians, Oblivians, Oblivians.
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.