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 Austria and from Cairo.
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 1978.
I'm losing my edge.
To all the kids in Salvador and Spokane.
I'm losing my edge to the art-school Mumbai 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 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 Deakin to the electroclash 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 Eli Mardock. All the underground hits.
All Moss Icon tracks. I heard you have a vinyl of every Tim Buckley 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 '90s.
I hear you're buying a mellotron and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Bizarre Inc. record.
I hear that you and your band have sold your sitar and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Pop Group,
The Count Five,
Al Stewart,
The Cure,
Fad Gadget,
Slick Rick,
U.S. Maple,
L. Decosne,
Lou Reed,
Quadrant,
Guru Guru,
Interpol,
Terrestrial Tones,
James White and The Blacks,
Camron Feat. Memphis Bleek And Beenie Seigel,
Barrington Levy,
New Age Steppers,
Faraquet,
H. Thieme,
Cymande,
Royal Trux,
Magma,
The Mojo Men,
Nico,
Hasil Adkins,
CMW,
X-Ray Spex,
Bronski Beat,
Subhumans,
Grandmaster Flash and the Furious Five,
Lonnie Liston Smith,
Desert Stars,
The Associates,
the Germs,
Wally Richardson,
Bush Tetras,
Warsaw,
Monks,
Tomorrow,
Section 25,
Eurythmics,
F. McDonald,
Robert Görl,
Thompson Twins,
MC5,
Rhythm & Sound,
The Beau Brummels,
The Misunderstood,
Country Teasers,
Byron Stingily,
Max Romeo,
The Cowsills,
Public Image Ltd.,
The Golliwogs,
Funky Four + One,
Oblivians,
Joe Smooth,
Frankie Knuckles,
Supertramp,
Kevin Saunderson,
Underground Resistance,
Röyhkä ja Rättö ja Lehtisalo,
Clear Light, Clear Light, Clear Light, Clear Light.
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.