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 Colombia and from Tehran.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Manchester and Spokane.
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 spring reverb 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 Kaleidoscope to the rap kids.
I played it at the Hacienda.
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 Mars. All the underground hits.
All Flipper tracks. I heard you have a vinyl of every The Pretty Things record on German import.
I heard that you have a white label of every seminal funk 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 spring reverb and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Seeds record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fire Engines,
Bob Dylan,
Black Pus,
Boogie Down Productions,
The Toasters,
Andrew Ashong & Theo Parrish,
Royal Trux,
The Mighty Diamonds,
Severed Heads,
FM Einheit,
Lindisfarne,
Siouxsie and the Banshees,
Groovy Waters,
Letta Mbulu,
Kauko Röyhkä ja Narttu,
The Wake,
Todd Terry,
Dr. Dre and Snoop Doggy Dog,
Soulsonic Force,
Slick Rick,
Tommy Roe,
Iggy Pop,
Surgeon,
Marvin Gaye,
Babytalk,
Scott Walker,
10cc,
Skriet,
Jacob Miller,
Röyhkä ja Rättö ja Lehtisalo,
Eyeless In Gaza,
Unrelated Segments,
Oppenheimer Analysis,
Faraquet,
In Retrospect,
Desert Stars,
Harry Pussy,
Pole,
The Moleskins,
The Busters,
Brand Nubian,
Judy Mowatt,
Amazonics,
Donny Hathaway,
Neil Young,
Michelle Simonal,
Popol Vuh,
Marc Almond,
The Invisible,
Fat Boys,
Pet Shop Boys,
Alice Coltrane,
Nils Olav,
The Velvet Underground,
Scientists,
Essential Logic,
Wasted Youth,
The Knickerbockers,
The United States of America,
Rahsaan Roland Kirk,
Sad Lovers and Giants, Sad Lovers and Giants, Sad Lovers and Giants, Sad Lovers and Giants.
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.