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 Venezuela and from Tehran.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Cairo and Bremen.
I'm losing my edge to the art-school Sao Paulo 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 spring reverb sounds with much patience.
I was there when Lou Reed 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 Audionom to the disco kids.
I played it at Trash.
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 Strawberry Alarm Clock. All the underground hits.
All Soulsonic Force tracks. I heard you have a vinyl of every The Standells 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 '50s cut and another box set from the '90s.
I hear you're buying a linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Associates record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camron Feat. Memphis Bleek And Beenie Seigel,
Gong,
the Bar-Kays,
Sällskapet,
The Angels of Light,
Slave,
Wally Richardson,
Pere Ubu,
Boz Scaggs,
Gerry Rafferty,
Technova,
Fort Wilson Riot,
The Busters,
Nils Olav,
The Mighty Diamonds,
The Blues Magoos,
Robert Hood,
June of 44,
Lee Hazlewood,
Nico,
Roxy Music,
The United States of America,
Althea and Donna,
Goldenarms,
Shoche,
Traffic Nightmare,
Pete Rock & C.L. Smooth,
Minor Threat,
The Durutti Column,
Deutsch Amerikanische Freundschaft,
Johnny Osbourne,
Lalo Schifrin,
Scott Walker,
Cybotron,
Roger Hodgson,
Sister Nancy,
Mandrill,
The Cure,
the Fania All-Stars,
Country Joe & The Fish,
The Invisible,
The Fall,
Orchestral Manoeuvres in the Dark,
Pantaleimon,
Ajijia Myrayebe,
Peter Gordon & Love of Life Orchestra,
Bobby Womack,
Big Daddy Kane,
Yusef Lateef,
Brick,
The Cramps,
Wighnomy Brothers & Robag Wruhme,
Brothers Johnson,
The Raincoats,
Zapp,
Boogie Down Productions,
Delta 5,
Avey Tare,
Amon Düül II,
Wire,
Bobbi Humphrey,
Electric Prunes,
Lindisfarne,
Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra.
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.