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 Togo and from Delhi.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Salvador and London.
I'm losing my edge to the art-school Tehran 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 harpsichord sounds with much patience.
I was there when Robert Palmer 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 Todd Terry to the jazz 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 Crash Course in Science. All the underground hits.
All Matthew Bourne tracks. I heard you have a vinyl of every The Flesh Eaters 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 '50s cut and another box set from the '80s.
I hear you're buying a marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Harpers Bizarre record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marc Romboy vs. Booka Shade,
Wire,
The West Coast Pop Art Experimental Band,
Pole,
Supertramp,
Nation of Ulysses,
Rahsaan Roland Kirk,
Louis and Bebe Barron,
Alphaville,
Echo & the Bunnymen,
Yellowson,
Thompson Twins,
Japan,
Marcia Griffiths,
Graham Central Station,
Public Image Ltd.,
Country Teasers,
Kauko Röyhkä ja Narttu,
Lou Reed,
Trumans Water,
Ultra Naté,
Average White Band,
Jesper Dahlbäck,
Art Ensemble Of Chicago,
Dennis Brown,
Junior Murvin,
Gil Scott-Heron and Jamie xx,
The Velvet Underground,
Grauzone,
Boogie Down Productions,
Pussy Galore,
Kas Product,
Kayak,
Outsiders,
X-102,
The Sisters of Mercy,
Dark Day,
Young Marble Giants,
Terry Callier,
Kool Moe Dee,
The Mummies,
The Cosmic Jokers,
Arthur Verocai,
Cabaret Voltaire,
Joy Division,
The Standells,
Crispian St. Peters,
The Golliwogs,
Marshall Jefferson,
Heaven 17,
The Cowsills,
Shuggie Otis,
the Soft Cell,
Hardrive,
The Alarm Clocks,
Thee Headcoats,
The Gories,
Anthony Braxton,
Lakeside,
Harpers Bizarre,
The Fall,
Archie Shepp,
LL Cool J,
The Barracudas, The Barracudas, The Barracudas, The Barracudas.
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.