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 Brunei and from Portland.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Jakarta and Halifax.
I'm losing my edge to the art-school Paris 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 marimba sounds with much patience.
I was there when Tom Verlaine 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 The Moody Blues to the dance kids.
I played it at the Roxy.
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 Letta Mbulu. All the underground hits.
All Althea and Donna tracks. I heard you have a vinyl of every Fort Wilson Riot record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Notorious Big And Bone Thugs record.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rapeman,
The Black Dice,
Cheater Slicks,
Susan Cadogan,
Underground Resistance,
Silicon Teens,
Eyeless In Gaza,
Sugar Minott,
MC5,
Judy Mowatt,
The Jesus and Mary Chain,
UT,
Radiohead,
Faraquet,
Ultimate Spinach,
Kayak,
Fatback Band,
The Buckinghams,
Bizarre Inc.,
8 Eyed Spy,
Röyhkä ja Rättö ja Lehtisalo,
The Shadows of Knight,
Little Man,
U.S. Maple,
Blake Baxter,
Slave,
The Gun Club,
The Cosmic Jokers,
Al Stewart,
Janne Schatter,
The Divine Comedy,
Moby Grape,
Flash Fearless,
Masters at Work,
Pole,
Blancmange,
The Blackbyrds,
Public Image Ltd.,
The Saints,
Popol Vuh,
MDC,
Circle Jerks,
Carl Craig,
Bobby Byrd,
Barclay James Harvest,
Make Up,
the Soft Cell,
Nick Cave & The Bad Seeds,
Gabor Szabo,
The Evens,
Ludus,
Henry Cow,
Sonny Sharrock,
Minny Pops,
Ultramagnetic MC's,
Chris & Cosey,
John Holt,
A Certain Ratio,
Mr. Review,
De La Soul & Jungle Brothers,
Ohio Players, Ohio Players, Ohio Players, Ohio Players.
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.