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 Latvia and from Shanghai.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Salvador and Paris.
I'm losing my edge to the art-school Glasgow 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 Buzzcocks practice in a loft in Bolton.
I was working on the marimba sounds with much patience.
I was there when Tom Verlaine 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 Stockholm Monsters to the rock kids.
I played it at Cafe Wha.
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 Bill Wells. All the underground hits.
All Grandmaster Flash tracks. I heard you have a vinyl of every Roy Ayers record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an organ and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Music Machine record.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-101,
Interpol,
Essential Logic,
Iggy Pop,
KRS-One,
Yaz,
Soul II Soul,
Panda Bear,
Lou Reed & John Cale,
Roxy Music,
Bob Dylan,
Stockholm Monsters,
Gong,
Alice Coltrane,
Terror Squad Feat. Camron,
Leonard Cohen,
Erasure,
cv313,
Wire,
Lyres,
The Toasters,
Marvin Gaye,
Ohio Players,
Khruangbin,
The Walker Brothers,
Janne Schatter,
Jesper Dahlback,
The Men They Couldn't Hang,
Tres Demented,
Tom Boy,
The Mummies,
Flipper,
Toni Rubio,
Icehouse,
Faraquet,
Wings,
Todd Terry,
Danielle Patucci,
The Barracudas,
Minor Threat,
Strawberry Alarm Clock,
Bronski Beat,
Hot Snakes,
Little Man,
Joyce Sims,
Echospace,
The Pretty Things,
Gian Franco Pienzio,
Susan Cadogan,
The Seeds,
Eurythmics,
Yellowson,
R.M.O.,
Bill Near,
The Grass Roots,
Electric Light Orchestra,
Barry Ungar,
Fatback Band,
David McCallum,
The Beau Brummels,
Fugazi,
Lee Hazlewood,
Eli Mardock,
Lebanon Hanover,
Johnny Clarke, Johnny Clarke, Johnny Clarke, Johnny Clarke.
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.