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 Portugal and from Tokyo.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1974.
I'm losing my edge.
To all the kids in New York and Stockholm.
I'm losing my edge to the art-school Woodstock 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 mellotron sounds with much patience.
I was there when Tom Verlaine 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 Throbbing Gristle to the jazz 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 Stockholm Monsters. All the underground hits.
All The Durutti Column tracks. I heard you have a vinyl of every Rhythim Is Rhythim record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a the Normal record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mad Mike,
Desert Stars,
Talk Talk,
Babytalk,
Sunsets and Hearts,
Tears for Fears,
Lou Reed & John Cale,
Chrome,
Eli Mardock,
Deutsch Amerikanische Freundschaft,
Yazoo,
Duran Duran,
Isaac Hayes,
Cybotron,
Graham Central Station,
the Human League,
Ponytail,
Kaleidoscope,
These Immortal Souls,
Tom Boy,
The Count Five,
Dorothy Ashby,
The Buckinghams,
Notorious BIG live in Amsterdam,
Ken Boothe,
Pantaleimon,
Avey Tare & Kría Brekkan,
Eyeless In Gaza,
Quantec,
Hoover,
The Sonics,
Reagan Youth,
Deadbeat,
Amon Düül II,
a-ha,
Black Bananas,
Fifty Foot Hose,
The Dirtbombs,
ABBA,
Public Enemy,
Piero Umiliani,
Can,
Lalann,
Marc Romboy vs. Booka Shade,
Angels of Light & Akron/Family,
Avey Tare,
Supertramp,
Mary Jane Girls,
Man Eating Sloth,
Silicon Teens,
Warren Ellis,
Bob Dylan,
Kauko Röyhkä ja Narttu,
The Gun Club,
EPMD,
Maleditus Sound,
B.T. Express,
The Sound,
Janne Schatter,
Lafayette Afro Rock Band,
Half Japanese, Half Japanese, Half Japanese, Half Japanese.
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.