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 Guinea-Bissau and from Johannesburg.
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 1972.
I'm losing my edge.
To all the kids in Mexico City and Stockholm.
I'm losing my edge to the art-school Manchester 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 Zapp practice in a loft in Hamilton.
I was working on the guitar sounds with much patience.
I was there when Holger Czukay 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 Hashim to the punk kids.
I played it at the Spitz.
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 Franke. All the underground hits.
All Sun Ra Arkestra tracks. I heard you have a vinyl of every Scratch Acid 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 '90s.
I hear you're buying a guitar and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Techniques record.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Visage,
Pagans,
Ohio Players,
Excepter,
Cameo,
Terry Callier,
Soul Sonic Force,
Lafayette Afro Rock Band,
Davy DMX,
Charles Mingus,
Lindisfarne,
Angels of Light & Akron/Family,
Ronan,
The Star Department,
Chris & Cosey,
Yaz,
X-101,
The Monks,
Sandy B,
Avey Tare,
Matthew Bourne,
The Slackers,
The Mummies,
Fear,
MC5,
Yellowson,
Andrew Ashong & Theo Parrish,
Neil Young,
The Residents,
the Bar-Kays,
Colin Newman,
Suburban Knight,
Deutsch Amerikanische Freundschaft,
Country Teasers,
Yusef Lateef,
Hoover,
The Vogues,
Morten Harket,
Animal Collective,
Reagan Youth,
Joy Division,
Masters at Work,
Soft Machine,
Delta 5,
The Doors,
Captain Beefheart & His Magic Band,
Oneida,
Alison Limerick,
The Pretty Things,
X-Ray Spex,
Kool G Rap & DJ Polo,
The Flesh Eaters,
Bob Dylan,
Amon Düül II,
Siouxsie and the Banshees,
Mad Mike,
Electric Prunes,
Young Marble Giants,
The Selecter,
Loose Ends,
Moss Icon,
Brothers Johnson, Brothers Johnson, Brothers Johnson, Brothers Johnson.
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.