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 Australia and from Cairo.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Shanghai and Johannesburg.
I'm losing my edge to the art-school Beijing 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the chamberlin sounds with much patience.
I was there when Lou Reed 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 Stockholm Monsters to the rap 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 Flamin' Groovies. All the underground hits.
All Marc Almond tracks. I heard you have a vinyl of every Rosa Yemen record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Deutsch Amerikanische Freundschaft record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sonic Youth,
Pete Rock & C.L. Smooth,
Alison Limerick,
Matthew Halsall,
DJ Style,
Severed Heads,
Dr. Dre and Snoop Doggy Dog,
Crime,
Whodini,
the Soft Cell,
The Martian,
Kool G Rap & DJ Polo,
The Zeros,
Brick,
Rhythm & Sound,
Howard Jones,
Andrew Ashong & Theo Parrish,
Janne Schatter,
Motorama,
Bill Wells,
New York Dolls,
London Community Gospel Choir,
Bauhaus,
The Saints,
The Dave Clark Five,
Graham Central Station,
Brothers Johnson,
Röyhkä ja Rättö ja Lehtisalo,
Amazonics,
Derrick Morgan,
Soul II Soul,
Saccharine Trust,
Arab on Radar,
Mary Jane Girls,
the Association,
The American Breed,
Infiniti,
Funkadelic,
New Age Steppers,
Jeru the Damaja,
Subhumans,
Eddi Front,
The Evens,
Bootsy's Rubber Band,
Mission of Burma,
The Doobie Brothers,
Nick Fraelich,
Gian Franco Pienzio,
The Leaves,
E-Dancer,
The Monochrome Set,
Little Man,
Terror Squad Feat. Camron,
Gang Gang Dance,
Faraquet,
Warren Ellis,
Babytalk,
Avey Tare's Slasher Flicks,
Lonnie Liston Smith,
Stetsasonic,
Scott Walker,
Rufus Thomas,
Cheater Slicks, Cheater Slicks, Cheater Slicks, Cheater Slicks.
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.