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 Iraq and from Halifax.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Woodstock and Madrid.
I'm losing my edge to the art-school Toronto 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 organ 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 China Crisis to the techno 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 Moss Icon. All the underground hits.
All The Real Kids tracks. I heard you have a vinyl of every Bauhaus record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Junior Murvin record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nik Kershaw,
Todd Terry,
Marcia Griffiths,
Marvin Gaye,
Kauko Röyhkä ja Narttu,
The Fire Engines,
Teenage Jesus and the Jerks,
Iggy Pop,
Kerri Chandler,
The Beau Brummels,
The Gladiators,
Hardrive,
Spandau Ballet,
X-101,
The Techniques,
The Gun Club,
The Music Machine,
Bill Near,
Harpers Bizarre,
The Standells,
Buzzcocks,
Grey Daturas,
Soul Sonic Force,
Maurizio,
Lalo Schifrin,
John Cale,
The Dave Clark Five,
The Associates,
Minor Threat,
cv313,
Ponytail,
The Searchers,
Cybotron,
Ronnie Foster,
The American Breed,
Crime,
Saccharine Trust,
D'Angelo,
Aswad,
Agent Orange,
Barbara Tucker,
Country Teasers,
Harry Pussy,
Electric Light Orchestra,
Peter & Gordon,
Davy DMX,
Man Eating Sloth,
JFA,
Funkadelic,
The Real Kids,
The Walker Brothers,
Kool G Rap & DJ Polo,
Bobbi Humphrey,
Colin Newman,
Alton Ellis,
The Human League,
Eric Copeland,
Flash Fearless,
Mission of Burma,
Man Parrish,
Quantec,
Make Up,
Royal Trux, Royal Trux, Royal Trux, Royal Trux.
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.