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 Comoros and from Copenhagen.
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 1974.
I'm losing my edge.
To all the kids in Houston and Copenhagen.
I'm losing my edge to the art-school Mumbai 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 oboe sounds with much patience.
I was there when Holger Czukay 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 Robert Wyatt to the techno 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 Litter. All the underground hits.
All The Doors tracks. I heard you have a vinyl of every Bad Manners record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a guitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Mo-Dettes record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Bourne,
The Happenings,
Intrusion,
DJ Sneak,
Deutsch Amerikanische Freundschaft,
The Seeds,
Dual Sessions,
Soul Sonic Force,
Sun Ra,
The Sisters of Mercy,
The West Coast Pop Art Experimental Band,
Harry Pussy,
The Remains,
Kaleidoscope,
Barry Ungar,
Siouxsie and the Banshees,
Lucky Dragons,
The Five Americans,
The Martian,
Public Image Ltd.,
Marvin Gaye,
Quantec,
Sight & Sound,
Nirvana,
Quadrant,
Organ,
Liliput,
The Jesus and Mary Chain,
Fela Kuti,
DeepChord presents Echospace,
Camberwell Now,
Eddi Front,
Half Japanese,
Janne Schatter,
Max Romeo,
Faust,
Lower 48,
The Neon Judgement,
Bang On A Can,
Stiv Bators,
Ice-T,
Bill Near,
Drexciya,
Howard Jones,
Au Pairs,
Swans,
The Detroit Cobras,
Ludus,
Bootsy Collins,
Agent Orange,
Sam Rivers,
Marcia Griffiths,
Bluetip,
Bobby Womack,
Desert Stars,
Ituana,
Kool G Rap & DJ Polo,
The Skatalites,
Black Sheep,
Bobby Sherman,
Royal Trux,
Johnny Osbourne, Johnny Osbourne, Johnny Osbourne, Johnny Osbourne.
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.