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 Marshall Islands and from Seoul.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Tokyo and Mexico City.
I'm losing my edge to the art-school Calgary 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the chamberlin 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 Lucky Dragons to the jazz kids.
I played it at Trash.
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 Sixth Finger. All the underground hits.
All Fort Wilson Riot tracks. I heard you have a vinyl of every Rites of Spring 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 '50s cut and another box set from the '80s.
I hear you're buying a theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Cluster record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Derrick Morgan,
Isaac Hayes,
Graham Central Station,
Cybotron,
Jawbox,
Prince Buster,
The Martian,
Young Marble Giants,
Khruangbin,
Cheater Slicks,
Crooked Eye,
Stetsasonic,
Organ,
B.T. Express,
Gil Scott-Heron & Brian Jackson,
Spandau Ballet,
Oppenheimer Analysis,
Slave,
Albert Ayler,
The Residents,
Harry Pussy,
Fatback Band,
Country Joe & The Fish,
Kurtis Blow,
Marc Almond,
Black Bananas,
Pantaleimon,
The Motions,
Depeche Mode,
Sonny Sharrock,
Model 500,
Aural Exciters,
Stereo Dub,
Jesper Dahlbäck,
Pere Ubu,
Jacques Brel,
The Real Kids,
Michelle Simonal,
Iggy Pop,
Gang of Four,
Girls At Our Best!,
Bang on a Can All-Stars,
Youth Brigade,
Gary Puckett & The Union Gap,
Judy Mowatt,
Soul Sonic Force,
Niagra,
Joy Division,
Johnny Osbourne,
Vainqueur,
Barry Ungar,
Al Stewart,
Basic Channel,
Ten City,
Bluetip,
Outsiders,
Livin' Joy,
Bill Near,
La Düsseldorf,
Half Japanese,
The Victims, The Victims, The Victims, The Victims.
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.