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 Honduras and from Paris.
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 1974.
I'm losing my edge.
To all the kids in Tokyo and New York.
I'm losing my edge to the art-school Copenhagen 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 sitar sounds with much patience.
I was there when Nile Rodgers 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 Fat Boys to the grunge 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 Bronski Beat. All the underground hits.
All Idris Muhammad tracks. I heard you have a vinyl of every Yaz record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an organ and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Associates record.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jacques Brel,
Quantec,
Magazine,
Carl Craig,
The Toasters,
Sonny Sharrock,
Spandau Ballet,
Au Pairs,
Model 500,
D'Angelo,
Minor Threat,
DeepChord presents Echospace,
Sex Pistols,
the Association,
Loose Ends,
Index,
MDC,
Oblivians,
Gichy Dan,
Kenny Larkin,
Inner City,
Byron Stingily,
The Slits,
The Human League,
Terrestrial Tones,
Bobby Byrd,
Tubeway Army,
Judy Mowatt,
R.M.O.,
The Doors,
Minny Pops,
Yazoo,
Kas Product,
The Mummies,
Shuggie Otis,
Amon Düül II,
Lafayette Afro Rock Band,
the Soft Cell,
Youth Brigade,
The Cowsills,
Moebius,
Quando Quango,
Half Japanese,
Siglo XX,
Q and Not U,
The Stooges,
Sticky Fingaz feat. Raekwon,
The American Breed,
Infiniti,
Y Pants,
The Wake,
The Seeds,
Monks,
Scan 7,
Cymande,
Accadde A,
La Düsseldorf,
Skarface,
The Detroit Cobras,
Mad Mike, Mad Mike, Mad Mike, Mad Mike.
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.