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 Cyprus and from Copenhagen.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Spokane and Winnipeg.
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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the 808 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 The Star Department to the techno 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 Joe Finger. All the underground hits.
All Ituana tracks. I heard you have a vinyl of every Thompson Twins record on German import.
I heard that you have a white label of every seminal jazz 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 theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a F. McDonald record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Underground Resistance,
the Slits,
The Gun Club,
Marvin Gaye,
The Last Poets,
The Peanut Butter Conspiracy,
The Monks,
Parry Music,
Crispy Ambulance,
Rhythm & Sound,
Metal Thangz,
Eric B and Rakim,
Sparks,
Joensuu 1685,
Theoretical Girls,
Connie Case,
Oppenheimer Analysis,
Dorothy Ashby,
It's A Beautiful Day,
Peter and Kerry,
Q and Not U,
Outsiders,
Orchestral Manoeuvres in the Dark,
Dead Boys,
Super Lover Cee & Casanova Rud,
Letta Mbulu,
Strawberry Alarm Clock,
Agent Orange,
the Germs,
Teenage Jesus and the Jerks,
Don Cherry,
Marc Almond,
Unrelated Segments,
Drive Like Jehu,
Eurythmics,
Fatback Band,
Röyhkä ja Rättö ja Lehtisalo,
Japan,
Joe Smooth,
The Slits,
Desert Stars,
Scion,
The J.B.'s,
Iggy Pop,
Cybotron,
Public Image Ltd.,
Visionaries,LMNO, T- Love & Iriscience,
Black Pus,
The Fire Engines,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Barracudas,
The American Breed,
Rites of Spring,
Fad Gadget,
Pussy Galore,
The Mighty Diamonds,
Babytalk,
Wings,
The Real Kids,
Avey Tare's Slasher Flicks,
The Angels of Light,
Hardrive,
Eddi Front, Eddi Front, Eddi Front, Eddi Front.
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.