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 Georgia and from Beijing.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Cairo and Calgary.
I'm losing my edge to the art-school New York 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 spring reverb sounds with much patience.
I was there when Holger Czukay 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 Crash Course in Science to the dance kids.
I played it at CBGB's.
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 Sound. All the underground hits.
All Slave tracks. I heard you have a vinyl of every Sugar Minott 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 '60s cut and another box set from the '80s.
I hear you're buying a guitar and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Aural Exciters record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marc Almond,
Neil Young & Crazy Horse,
The Barracudas,
Country Teasers,
Bootsy Collins,
Fugazi,
Art Ensemble Of Chicago,
Captain Beefheart & His Magic Band,
Eric Copeland,
New Age Steppers,
Buzzcocks,
Arab on Radar,
Frankie Knuckles,
Infiniti,
The Leaves,
The Move,
Red Lorry Yellow Lorry,
Gang Gang Dance,
The Motions,
Guru Guru,
Stereo Dub,
David Axelrod,
Boredoms,
Faust,
Eve St. Jones,
Drexciya,
Major Organ And The Adding Machine,
LL Cool J,
Girls At Our Best!,
Ken Boothe,
Freddie Wadling,
Deakin,
Jerry's Kids,
Curtis Mayfield,
Kaleidoscope,
Sad Lovers and Giants,
MC5,
AZ,
The Cure,
These Immortal Souls,
Motorama,
The Martian,
Thee Headcoats,
Mantronix,
Rotary Connection,
Aswad,
Yusef Lateef,
Gabor Szabo,
The Knickerbockers,
Half Japanese,
Wolf Eyes,
the Human League,
Flamin' Groovies,
Bobby Byrd,
L. Decosne,
Swell Maps,
Severed Heads,
Minutemen,
Magazine,
The Pop Group,
Y Pants,
Pulsallama,
Soft Machine, Soft Machine, Soft Machine, Soft Machine.
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.