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 Germany and from Sao Paulo.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1969 to 1972.
I'm losing my edge.
To all the kids in London and New York.
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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when Robert Palmer 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 Neil Young & Crazy Horse to the rock kids.
I played it at the Troubador.
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 Rahsaan Roland Kirk. All the underground hits.
All The Associates tracks. I heard you have a vinyl of every Peter and Kerry 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 '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Black Pus record.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Junior Murvin,
Funky Four + One,
Neu!,
Buzzcocks,
the Fania All-Stars,
Bootsy Collins,
Alphaville,
Joe Finger,
The Walker Brothers,
Eurythmics,
The Smiths,
Marshall Jefferson,
Bill Wells,
Marc Almond,
Gang Starr,
Prince Buster,
Byron Stingily,
The Jesus and Mary Chain,
The Gap Band,
Bush Tetras,
Scion,
Public Image Ltd.,
Gang Green,
Jeff Mills,
Pylon,
Ken Boothe,
David McCallum,
Little Man,
Arab on Radar,
Loose Ends,
Drexciya,
The Young Rascals,
Soft Cell,
Rowland S Howard / Lydia Lunch,
Robert Hood,
Thee Headcoats,
The Music Machine,
Eyeless In Gaza,
The Invisible,
Oneida,
Jesper Dahlbäck,
James Chance & The Contortions,
Erasure,
Jacques Brel,
Cameo,
Harry Pussy,
Rod Modell,
The Selecter,
Cybotron,
Frankie Knuckles,
Electric Light Orchestra,
Tres Demented,
Drive Like Jehu,
The Real Kids,
Au Pairs,
Second Layer,
Manfred Mann's Earth Band,
Infiniti,
The Velvet Underground,
Delta 5,
Essential Logic,
Jeru the Damaja, Jeru the Damaja, Jeru the Damaja, Jeru the Damaja.
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.