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 Turkey and from Shanghai.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Tehran and Edmonton.
I'm losing my edge to the art-school Hong Kong 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 güiro 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 MC5 to the crunk kids.
I played it at the 40 Watt.
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 Ronnie Foster. All the underground hits.
All Avey Tare tracks. I heard you have a vinyl of every Brass Construction 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 '80s cut and another box set from the '90s.
I hear you're buying a 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Oppenheimer Analysis record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
The Residents,
Radiohead,
Vladislav Delay,
Goldenarms,
Easy Going,
Althea and Donna,
a-ha,
Gang Gang Dance,
Moby Grape,
The Modern Lovers,
Throbbing Gristle,
Deakin,
Bobby Womack,
Scratch Acid,
Ultravox,
Motorama,
Rekid,
Eurythmics,
Subhumans,
The Golliwogs,
Magma,
The Black Dice,
Crash Course in Science,
Urselle,
Cluster,
CMW,
Franke,
The Smiths,
Infiniti,
Bob Dylan,
OOIOO,
Dual Sessions,
Little Man,
Gil Scott Heron,
Tomorrow,
Soulsonic Force,
Bootsy Collins,
Crooked Eye,
Neu!,
Marine Girls,
Max Romeo,
The Durutti Column,
Reuben Wilson,
Patti Smith,
June of 44,
The Trojans,
Sunsets and Hearts,
Minor Threat,
Eric B and Rakim,
Moebius,
Whodini,
Guru Guru,
the Association,
The Slackers,
Fatback Band,
Masters at Work,
Ituana,
Pharoah Sanders,
Avey Tare & Kría Brekkan,
Ultimate Spinach,
The Human League,
Stereo Dub,
The Monochrome Set, The Monochrome Set, The Monochrome Set, The Monochrome Set.
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.