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 Papua New Guinea and from Manchester.
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 1971.
I'm losing my edge.
To all the kids in Salvador and New York.
I'm losing my edge to the art-school Manila 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the spring reverb 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 Josef K to the electroclash kids.
I played it at the Roxy.
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 Eric Copeland. All the underground hits.
All Mantronix tracks. I heard you have a vinyl of every Oblivians record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Gap Band record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Parry Music,
Soft Machine,
Crispian St. Peters,
The Misunderstood,
Crash Course in Science,
Echo & the Bunnymen,
Kings Of Tomorrow,
Sun City Girls,
Bad Manners,
Buzzcocks,
Ossler,
Blossom Toes,
The Modern Lovers,
Anakelly,
Interpol,
The Knickerbockers,
Don Cherry,
The New Christs,
Bobby Byrd,
Vaughan Mason & Crew,
Underground Resistance,
Sam Rivers,
Johnny Osbourne,
Pylon,
The Sound,
48th St. Collective,
Siouxsie and the Banshees,
Skaos,
David Bowie,
Stiv Bators,
The Last Poets,
the Bar-Kays,
Harmonia,
The Moody Blues,
The Vogues,
Lou Reed & John Cale,
Gian Franco Pienzio,
Robert Wyatt,
A Certain Ratio,
Hardrive,
Unrelated Segments,
Maleditus Sound,
New Age Steppers,
Symarip,
Gong,
Organ,
Eric Copeland,
Sun Ra,
The Walker Brothers,
It's A Beautiful Day,
Lindisfarne,
The Doors,
Godley & Creme,
Country Teasers,
Bill Wells,
kango's stein massive,
the Swans,
Aaron Thompson,
Monolake,
Rahsaan Roland Kirk,
Soft Cell,
Grauzone,
Lou Reed,
Das Ding, Das Ding, Das Ding, Das Ding.
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.