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 Gabon and from Edmonton.
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 1973.
I'm losing my edge.
To all the kids in Mexico City and Manchester.
I'm losing my edge to the art-school Tehran 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 theremin sounds with much patience.
I was there when Robert Palmer 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 Reagan Youth to the crunk kids.
I played it at the Astoria.
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 Doobie Brothers. All the underground hits.
All Shuggie Otis tracks. I heard you have a vinyl of every Barry Ungar record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Severed Heads record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Inner City,
Eyeless In Gaza,
The Martian,
Minor Threat,
The Offenders,
Harpers Bizarre,
Minutemen,
Intrusion,
Boogie Down Productions,
kango's stein massive,
Skaos,
The Sonics,
Vainqueur,
Jesper Dahlbäck,
Rekid,
Ken Boothe,
The Litter,
Harmonia,
Das Ding,
Magazine,
Young Marble Giants,
ABBA,
Dual Sessions,
The Gories,
Rahsaan Roland Kirk,
The Doobie Brothers,
Albert Ayler,
Davy DMX,
Reagan Youth,
Reuben Wilson,
Main Source,
Aloha Tigers,
Sly & The Family Stone,
Grauzone,
Crispian St. Peters,
World's Most,
Kauko Röyhkä ja Narttu,
Scion,
The Walker Brothers,
Sight & Sound,
Lou Reed & Metallica,
The Pop Group,
Saccharine Trust,
The Dead C,
Pharaoh Sanders and the Fire Engines,
Spandau Ballet,
Todd Terry,
Swans,
Half Japanese,
Pole,
Thompson Twins,
La Düsseldorf,
Electric Light Orchestra,
Ossler,
Public Image Ltd.,
Groovy Waters,
the Swans,
Godley & Creme,
Jacques Brel,
Delon & Dalcan,
Technova,
The Dave Clark Five,
Curtis Mayfield,
Cabaret Voltaire,
Whodini, Whodini, Whodini, Whodini.
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.