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 Switzerland and from Bremen.
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 1970.
I'm losing my edge.
To all the kids in Salvador and Johannesburg.
I'm losing my edge to the art-school Bologna 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the guitar sounds with much patience.
I was there when Captain Beefheart 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 Little Man to the punk kids.
I played it at the Astoria.
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 Real Kids. All the underground hits.
All The Blues Magoos tracks. I heard you have a vinyl of every Pylon record on German import.
I heard that you have a white label of every seminal grime 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 an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Ultravox record.
I hear that you and your band have sold your 808 and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
A Certain Ratio,
The Cure,
Quantec,
Scan 7,
Public Enemy,
The Techniques,
Massinfluence,
Boredoms,
Chris Corsano,
Janne Schatter,
Gong,
Al Stewart,
The Slackers,
Gang Gang Dance,
Isaac Hayes,
Surgeon,
Dennis Brown,
Mark Hollis,
The Fuzztones,
Depeche Mode,
Avey Tare's Slasher Flicks,
Kauko Röyhkä ja Narttu,
Graham Central Station,
Flipper,
Ultimate Spinach,
Soft Machine,
Jeff Mills,
Kaleidoscope,
T.S.O.L.,
Ultra Naté,
The Wake,
Man Eating Sloth,
Accadde A,
Matthew Halsall,
Ken Boothe,
Wasted Youth,
Half Japanese,
Art Ensemble Of Chicago,
The Monks,
Ornette Coleman,
Nils Olav,
Donald Byrd,
Dorothy Ashby,
Godley & Creme,
Motorama,
Red Lorry Yellow Lorry,
Nick Cave & The Bad Seeds,
Kerri Chandler,
Moebius,
Kings Of Tomorrow,
Ash Ra Tempel,
Delta 5,
Anthony Braxton,
Howard Jones,
The Moleskins,
Shoche,
Josef K,
Model 500,
Main Source,
Aural Exciters,
Traffic Nightmare,
Colin Newman,
Rhythim Is Rhythim,
Frankie Knuckles, Frankie Knuckles, Frankie Knuckles, Frankie Knuckles.
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.