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 the UAE 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 1964 to 1970.
I'm losing my edge.
To all the kids in Delhi and Cairo.
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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the snare 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 Piero Umiliani to the electroclash kids.
I played it at Cafe Wha.
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 Gong. All the underground hits.
All Sight & Sound tracks. I heard you have a vinyl of every Eric Dolphy record on German import.
I heard that you have a white label of every seminal jazz 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 clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Neil Young & Crazy Horse record.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Lydon,
Orchestral Manoeuvres in the Dark,
Beasts of Bourbon,
Jeff Mills,
Kurtis Blow,
The Skatalites,
Nik Kershaw,
the Bar-Kays,
The Star Department,
ABC,
Mary Jane Girls,
Crash Course in Science,
Eurythmics,
Soul II Soul,
Yaz,
The Associates,
Yazoo,
Trumans Water,
Public Image Ltd.,
Juan Atkins,
Chris Corsano,
Marine Girls,
Gichy Dan,
Youth Brigade,
Minny Pops,
Sad Lovers and Giants,
Agitation Free,
The Trojans,
Bobby Sherman,
James Chance & The Contortions,
Fort Wilson Riot,
Mark Hollis,
Rufus Thomas,
Young Marble Giants,
Babytalk,
John Holt,
Television,
The Mighty Diamonds,
Moby Grape,
Fear,
Barry Ungar,
the Slits,
Spandau Ballet,
Arcadia,
Nils Olav,
Red Lorry Yellow Lorry,
Sarah Menescal,
Frankie Knuckles,
Eyeless In Gaza,
Donny Hathaway,
Soft Machine,
Glambeats Corp.,
Quando Quango,
The United States of America,
Stetsasonic,
Technova,
Mantronix,
Peter Gordon & Love of Life Orchestra,
Traffic Nightmare,
Röyhkä ja Rättö ja Lehtisalo,
Bobby Hutcherson, Bobby Hutcherson, Bobby Hutcherson, Bobby Hutcherson.
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.