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 Papua New Guinea and from Milan.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Beijing and Accra.
I'm losing my edge to the art-school London 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 guitar sounds with much patience.
I was there when Holger Czukay 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 David Axelrod to the electroclash 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 Lou Reed & Metallica. All the underground hits.
All Duran Duran tracks. I heard you have a vinyl of every Funkadelic 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 '90s.
I hear you're buying a sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Inner City record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter & Gordon,
Circle Jerks,
The Cure,
Freddie Wadling,
the Human League,
Harpers Bizarre,
Boz Scaggs,
In Retrospect,
FM Einheit,
Khruangbin,
Marvin Gaye,
the Soft Cell,
The Walker Brothers,
New York Dolls,
Grauzone,
The Music Machine,
the Fania All-Stars,
Pharoah Sanders,
Avey Tare & Kría Brekkan,
Zero Boys,
Brothers Johnson,
The Men They Couldn't Hang,
Oneida,
Pole,
Maleditus Sound,
The Techniques,
K-Klass,
Andrew Hill,
The Remains,
Maurizio,
Monolake,
Amazonics,
the Bar-Kays,
Half Japanese,
The Names,
Dual Sessions,
Accadde A,
Selector Dub Narcotic,
Youth Brigade,
Moby Grape,
Nico,
The Busters,
Ornette Coleman,
Soulsonic Force,
The Stooges,
Eric B and Rakim,
Sound Behaviour,
The Fuzztones,
Roger Hodgson,
The Birthday Party,
Scion,
Byron Stingily,
Make Up,
Sun Ra Arkestra,
Alison Limerick,
Ultramagnetic MC's,
Panda Bear,
Jeru the Damaja,
Liliput, Liliput, Liliput, Liliput.
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.