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 Pakistan and from Edmonton.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Jakarta and Seoul.
I'm losing my edge to the art-school Bremen 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 spring reverb 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 Faust to the funk kids.
I played it at CBGB's.
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 Vaughan Mason & Crew. All the underground hits.
All The Skatalites tracks. I heard you have a vinyl of every Gil Scott-Heron and Jamie xx 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 '50s cut and another box set from the '90s.
I hear you're buying a sitar and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Massinfluence record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marshall Jefferson,
Louis and Bebe Barron,
Sixth Finger,
The Remains,
John Lydon,
Marmalade,
Grandmaster Flash and the Furious Five,
Marc Almond,
Von Mondo,
Qualms,
Boogie Down Productions,
Bluetip,
The Star Department,
Main Source,
Rapeman,
Erykah Badu,
Silicon Teens,
The Moody Blues,
Notorious BIG live in Amsterdam,
Johnny Clarke,
Eurythmics,
the Human League,
Lou Reed,
Black Bananas,
Deutsch Amerikanische Freundschaft,
The Fuzztones,
The J.B.'s,
Joe Finger,
Steve Hackett,
The Monochrome Set,
The Gories,
Altered Images,
Panda Bear,
Pussy Galore,
Accadde A,
The Grass Roots,
Electric Light Orchestra,
Vaughan Mason & Crew,
Scott Walker,
Gregory Isaacs,
Marcia Griffiths,
CMW,
The Neon Judgement,
Soft Cell,
Babytalk,
Sällskapet,
Vainqueur,
The Five Americans,
Grey Daturas,
Sarah Menescal,
Sonny Sharrock,
Curtis Mayfield,
Patti Smith,
Deepchord,
Bill Wells,
Bang on a Can All-Stars,
Skriet,
Mary Jane Girls,
Scion,
the Slits,
Byron Stingily, Byron Stingily, Byron Stingily, Byron Stingily.
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.