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 Costa Rica and from Bologna.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Lagos and Winnipeg.
I'm losing my edge to the art-school Portland 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 Mistral practice in a loft in Amsterdam.
I was working on the güiro sounds with much patience.
I was there when Lou Reed 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 Roy Ayers Ubiquity to the jazz kids.
I played it at the 40 Watt.
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 New Order. All the underground hits.
All Schoolly D tracks. I heard you have a vinyl of every Nils Olav record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Buzzcocks record.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Los Fastidios,
Jerry's Kids,
Max Romeo,
Lou Reed & Metallica,
The Flesh Eaters,
Inner City,
Bad Manners,
The Doors,
Kerrie Biddell,
These Immortal Souls,
Sparks,
Urselle,
Red Lorry Yellow Lorry,
Peter Gordon & Love of Life Orchestra,
Spandau Ballet,
the Sonics,
48th St. Collective,
Dawn Penn,
Sun Ra,
Black Pus,
Bill Near,
Masters at Work,
Brand Nubian,
Motorama,
Vaughan Mason & Crew,
Tropical Tobacco,
Aural Exciters,
Fat Boys,
Deepchord,
Hardrive,
Groovy Waters,
Davy DMX,
E-Dancer,
The New Christs,
Curtis Mayfield,
Yusef Lateef,
Echospace,
John Lydon,
DJ Style,
Ultra Naté,
Icehouse,
Ronnie Foster,
Desert Stars,
Jeru the Damaja,
Howard Jones,
Swell Maps,
In Retrospect,
Beasts of Bourbon,
Quando Quango,
the Association,
Soul Sonic Force,
Bluetip,
Swans,
Theoretical Girls,
Accadde A,
Warsaw,
The Motions,
Minnie Riperton,
Isaac Hayes,
Eli Mardock,
Wighnomy Brothers & Robag Wruhme, Wighnomy Brothers & Robag Wruhme, Wighnomy Brothers & Robag Wruhme, Wighnomy Brothers & Robag Wruhme.
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.