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 Chad 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 1968 to 1970.
I'm losing my edge.
To all the kids in Lagos and Glasgow.
I'm losing my edge to the art-school Halifax 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 Wire practice in a loft in Watford.
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 The Electric Prunes to the jazz kids.
I played it at the Hacienda.
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 Can. All the underground hits.
All Audionom tracks. I heard you have a vinyl of every Lou Reed & John Cale record on German import.
I heard that you have a white label of every seminal punk 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 an arpeggiator and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Hardrive record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Glambeats Corp.,
kango's stein massive,
Ultramagnetic MC's,
Sparks,
Kool Moe Dee,
Arthur Verocai,
Grandmaster Flash and the Furious Five,
Selector Dub Narcotic,
Major Organ And The Adding Machine,
Amazonics,
Scott Walker,
The West Coast Pop Art Experimental Band,
Country Teasers,
Johnny Clarke,
Depeche Mode,
Soulsonic Force,
Amon Düül,
Sun City Girls,
Black Bananas,
These Immortal Souls,
Camberwell Now,
The Selecter,
The Skatalites,
Kerri Chandler,
Robert Wyatt,
Interpol,
Josef K,
Reuben Wilson,
Gang Gang Dance,
Skarface,
Angry Samoans,
The Pretty Things,
Scientists,
Nik Kershaw,
Notorious BIG live in Amsterdam,
Vainqueur,
Derrick May,
The J.B.'s,
Qualms,
Avey Tare's Slasher Flicks,
Crash Course in Science,
Nation of Ulysses,
Pierre Henry,
Captain Beefheart & His Magic Band,
Loose Ends,
Half Japanese,
Thee Headcoats,
Wolf Eyes,
The Trojans,
The Blackbyrds,
Art Ensemble Of Chicago,
Michelle Simonal,
The Durutti Column,
Richard Hell and the Voidoids,
X-101,
The Music Machine,
Rekid,
The Fortunes,
De La Soul & Jungle Brothers,
The Monks,
Be Bop Deluxe,
Bluetip,
E-Dancer,
Bauhaus, Bauhaus, Bauhaus, Bauhaus.
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.