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 Slovakia and from Salvador.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Philadelphia and Calgary.
I'm losing my edge to the art-school Toronto 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 arpeggiator sounds with much patience.
I was there when Donald Fagen 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 techno 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 Cabaret Voltaire. All the underground hits.
All The Monochrome Set tracks. I heard you have a vinyl of every Girls At Our Best! record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Fear record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marshall Jefferson,
The Cowsills,
Talk Talk,
The Star Department,
The Peanut Butter Conspiracy,
Ultravox,
Echo & the Bunnymen,
Art Ensemble Of Chicago,
10cc,
Country Joe & The Fish,
T.S.O.L.,
Inner City,
The Chocolate Watch Band,
Cymande,
JFA,
Nation of Ulysses,
Parry Music,
The New Christs,
Archie Shepp,
Agent Orange,
Country Teasers,
The Index,
The Alarm Clocks,
cv313,
La Düsseldorf,
Johnny Clarke,
The Divine Comedy,
Orchestral Manoeuvres in the Dark,
Alison Limerick,
Major Organ And The Adding Machine,
Duran Duran,
Cluster,
Sexual Harrassment,
The Young Rascals,
Darondo,
The Beau Brummels,
Saccharine Trust,
Matthew Bourne,
Pharoah Sanders,
Camberwell Now,
Sun Ra,
Television,
Sunsets and Hearts,
Minutemen,
The Pop Group,
the Soft Cell,
Jesper Dahlback,
U.S. Maple,
Marmalade,
Tim Buckley,
Fifty Foot Hose,
H. Thieme,
Wasted Youth,
Mandrill,
Underground Resistance,
The Music Machine,
Gastr Del Sol,
Khruangbin,
Au Pairs, Au Pairs, Au Pairs, Au Pairs.
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.