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 Finland and from Shanghai.
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 1970.
I'm losing my edge.
To all the kids in Portland and Madrid.
I'm losing my edge to the art-school Spokane 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 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 Minnie Riperton to the grime 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 Black Pus. All the underground hits.
All the Association tracks. I heard you have a vinyl of every Gastr Del Sol record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Max Romeo record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-Ray Spex,
Oblivians,
Cecil Taylor,
Loose Ends,
Lakeside,
Scott Walker + Sunn O))),
Captain Beefheart & His Magic Band,
Scratch Acid,
Be Bop Deluxe,
Bluetip,
Matthew Bourne,
John Foxx,
Parry Music,
Glambeats Corp.,
The Dead C,
Marine Girls,
The Doors,
The Doobie Brothers,
John Holt,
Lou Reed & Metallica,
Smog,
Animal Collective,
Hashim,
Wighnomy Brothers & Robag Wruhme,
Guru Guru,
Piero Umiliani,
Rekid,
Lou Reed,
Section 25,
Eric B and Rakim,
Minutemen,
John Cale,
The Searchers,
Patti Smith,
The Flesh Eaters,
AZ,
Black Moon,
Todd Terry,
Desert Stars,
Kool Moe Dee,
D'Angelo,
Wire,
ABBA,
Rahsaan Roland Kirk,
Flipper,
Bootsy Collins,
Kaleidoscope,
Pussy Galore,
Morten Harket,
Japan,
Con Funk Shun,
Avey Tare,
Delta 5,
Robert Wyatt,
Bizarre Inc.,
Country Joe & The Fish,
Essential Logic,
Moss Icon,
Sun Ra Arkestra,
Young Marble Giants,
The Blues Magoos, The Blues Magoos, The Blues Magoos, The Blues Magoos.
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.