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 Seychelles and from Glasgow.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Accra and Lagos.
I'm losing my edge to the art-school Philadelphia 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 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 Jeff Lynne to the rock kids.
I played it at Trash.
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 The Detroit Cobras. All the underground hits.
All Lower 48 tracks. I heard you have a vinyl of every Suburban Knight 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 '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Harpers Bizarre record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Massinfluence,
Girls At Our Best!,
Banda Bassotti,
Tropical Tobacco,
The Slackers,
the Association,
MDC,
Mark Hollis,
Peter Gordon & Love of Life Orchestra,
Archie Shepp,
The Fall,
Kool Moe Dee,
Andrew Ashong & Theo Parrish,
Monolake,
Sällskapet,
Justin Hinds & The Dominoes,
Fort Wilson Riot,
Vainqueur,
Liaisons Dangereuses,
The United States of America,
Janne Schatter,
The J.B.'s,
Bauhaus,
David Bowie,
Deadbeat,
Derrick Morgan,
Arthur Verocai,
Severed Heads,
AZ,
The Moleskins,
Kerri Chandler,
Robert Görl,
Essential Logic,
Q and Not U,
The Jesus and Mary Chain,
Kurtis Blow,
James White and The Blacks,
Marc Romboy vs. Booka Shade,
Andrew Hill,
Bobby Byrd,
Yazoo,
Deutsch Amerikanische Freundschaft,
Be Bop Deluxe,
The Litter,
Radiopuhelimet,
Kayak,
Gang Starr,
Black Moon,
Eyeless In Gaza,
Cluster,
Lou Christie,
the Bar-Kays,
Jacob Miller,
Clear Light,
The Misunderstood,
Matthew Halsall,
Big Daddy Kane,
Pantytec,
Anthony Braxton,
The Leaves,
New Order,
The Seeds, The Seeds, The Seeds, The Seeds.
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.