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 Slovakia and from Winnipeg.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Lyon and Paris.
I'm losing my edge to the art-school Bremen 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the guitar 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 Public Enemy to the jazz kids.
I played it at the Crocodile.
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 Section 25. All the underground hits.
All Mission of Burma tracks. I heard you have a vinyl of every The Offenders 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 mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Selecter record.
I hear that you and your band have sold your sitar and bought an oboe.
I hear that you and your band have sold your oboe and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed,
John Coltrane,
Jesper Dahlback,
Masters at Work,
the Normal,
Kaleidoscope,
Lebanon Hanover,
Yazoo,
X-Ray Spex,
The Seeds,
The Star Department,
Barry Ungar,
Ornette Coleman,
Wings,
Mandrill,
The American Breed,
The Five Americans,
Marine Girls,
The Trojans,
Harpers Bizarre,
ABBA,
Outsiders,
Lee Hazlewood,
Roxette,
D'Angelo,
Dark Day,
Lalo Schifrin,
Pagans,
H. Thieme,
Model 500,
The Motions,
Ultravox,
The Human League,
R.M.O.,
Marcia Griffiths,
The Beau Brummels,
The Kinks,
Technova,
Barclay James Harvest,
The Angels of Light,
China Crisis,
Fear,
Kerri Chandler,
Ludus,
Brand Nubian,
Y Pants,
the Association,
Lou Reed & Metallica,
PIL,
Joey Negro,
Peter and Kerry,
48th St. Collective,
Half Japanese,
Television Personalities,
New Order,
Todd Terry,
a-ha,
Beasts of Bourbon,
Donny Hathaway,
Avey Tare's Slasher Flicks,
Joyce Sims,
June Days,
The Birthday Party, The Birthday Party, The Birthday Party, The Birthday Party.
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.