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 Greece and from Paris.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Manchester and New York.
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 mellotron 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 Tomorrow to the punk 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 Bad Manners. All the underground hits.
All Ronnie Foster tracks. I heard you have a vinyl of every The Mummies 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 '80s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Urselle record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Banda Bassotti,
Vladislav Delay,
Television Personalities,
Aswad,
The Barracudas,
Fad Gadget,
Alphaville,
Tommy Roe,
Index,
Masters at Work,
Barrington Levy,
Agent Orange,
Cameo,
The Wake,
Inner City,
Oneida,
Eric Copeland,
Amazonics,
The Fortunes,
Dead Boys,
The Cramps,
Essential Logic,
Pussy Galore,
Blake Baxter,
John Lydon,
Sad Lovers and Giants,
Ronnie Foster,
Joyce Sims,
Brothers Johnson,
Surgeon,
MC5,
Excepter,
Wolf Eyes,
Aaron Thompson,
The Divine Comedy,
Cybotron,
Joensuu 1685,
Quantec,
Howard Jones,
Con Funk Shun,
Art Ensemble Of Chicago,
Stetsasonic,
This Heat,
Parry Music,
Motorama,
Rod Modell,
Glambeats Corp.,
Kango’s Stein Massive,
Red Lorry Yellow Lorry,
Ultramagnetic MC's,
Grey Daturas,
Sister Nancy,
Gil Scott-Heron and Jamie xx,
Ohio Players,
Whodini,
Pet Shop Boys,
Outsiders,
Newcleus,
The Raincoats,
The Blackbyrds, The Blackbyrds, The Blackbyrds, The Blackbyrds.
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.