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 Swaziland and from Philadelphia.
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 1973.
I'm losing my edge.
To all the kids in Manchester and Lille.
I'm losing my edge to the art-school Woodstock 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 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 In Retrospect to the crunk kids.
I played it at the Spitz.
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 Pulsallama. All the underground hits.
All Kayak tracks. I heard you have a vinyl of every Dave Gahan record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a harpsichord and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Albert Ayler record.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
Hot Snakes,
Notorious BIG live in Amsterdam,
Grey Daturas,
Alice Coltrane,
The Count Five,
Massinfluence,
Roxette,
Röyhkä ja Rättö ja Lehtisalo,
The Move,
Rapeman,
Grauzone,
Soul II Soul,
Newcleus,
Fat Boys,
Richard Hell and the Voidoids,
Deutsch Amerikanische Freundschaft,
The Alarm Clocks,
Das Ding,
Rowland S Howard / Lydia Lunch,
Cameo,
Barclay James Harvest,
Patti Smith,
Piero Umiliani,
Cheater Slicks,
Jeru the Damaja,
Ponytail,
Dennis Brown,
The Red Krayola,
Pere Ubu,
Country Joe & The Fish,
Porter Ricks,
DJ Sneak,
The Cowsills,
Japan,
James White and The Blacks,
Derrick Morgan,
Siouxsie and the Banshees,
Yellowson,
Flamin' Groovies,
The Doors,
Avey Tare's Slasher Flicks,
Kool Moe Dee,
The Techniques,
Tim Buckley,
Barbara Tucker,
Kerri Chandler,
The Fugs,
The Pop Group,
AZ,
Bluetip,
Suburban Knight,
Aaron Thompson,
Joe Finger,
The Dirtbombs,
Lou Reed & Metallica,
Andrew Ashong & Theo Parrish,
Franke,
The Happenings, The Happenings, The Happenings, The Happenings.
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.