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 China and from Madrid.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1973.
I'm losing my edge.
To all the kids in Columbus and Milan.
I'm losing my edge to the art-school Edmonton 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 marimba sounds with much patience.
I was there when Robert Palmer 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 Max Romeo to the disco kids.
I played it at the Troubador.
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 H. Thieme. All the underground hits.
All Eric B and Rakim tracks. I heard you have a vinyl of every The Toasters record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a harpsichord and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Pop Group record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skarface,
Scan 7,
The Gories,
Gang Green,
The Monks,
Oppenheimer Analysis,
Niagra,
Carl Craig,
The Raincoats,
Anakelly,
Lightning Bolt,
Cabaret Voltaire,
Black Flag,
Cameo,
Curtis Mayfield,
Nils Olav,
Crime,
Thee Headcoats,
Agitation Free,
Toni Rubio,
Fat Boys,
Davy DMX,
Crispian St. Peters,
the Sonics,
Arcadia,
John Lydon,
Be Bop Deluxe,
The Gladiators,
The Toasters,
Eddi Front,
Dead Boys,
Jacob Miller,
Deadbeat,
Liliput,
Gastr Del Sol,
Rakim,
Gil Scott-Heron & Brian Jackson,
Robert Hood,
Glenn Branca,
The Smiths,
Gian Franco Pienzio,
Ornette Coleman,
Supertramp,
Gil Scott Heron,
LL Cool J,
the Bar-Kays,
Livin' Joy,
Ajijia Myrayebe,
Au Pairs,
Inner City,
Gerry Rafferty,
48th St. Collective,
Rites of Spring,
The Birthday Party,
Ludus,
Sonny Sharrock,
Lebanon Hanover,
Chris & Cosey,
The Shadows of Knight,
U.S. Maple,
New Age Steppers,
Lizzy Mercier Descloux,
Cal Tjader,
Aaron Thompson, Aaron Thompson, Aaron Thompson, Aaron Thompson.
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.