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 Jamaica and from Madrid.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Manchester and Edmonton.
I'm losing my edge to the art-school Philadelphia 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the linndrum 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 R.M.O. to the grime 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 Jerry Gold Smith. All the underground hits.
All Schoolly D tracks. I heard you have a vinyl of every The Mummies 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 '60s cut and another box set from the '80s.
I hear you're buying a mellotron and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Dead Boys record.
I hear that you and your band have sold your guitar and bought a snare.
I hear that you and your band have sold your snare and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tears for Fears,
Jesper Dahlbäck,
Buzzcocks,
Average White Band,
Yusef Lateef,
X-102,
Howard Jones,
Cymande,
Bill Near,
Susan Cadogan,
Mary Jane Girls,
Idris Muhammad,
Skriet,
The Kinks,
Hot Snakes,
Jeff Mills,
Fatback Band,
Steve Hackett,
Boogie Down Productions,
Dead Boys,
Dual Sessions,
James White and The Blacks,
Fat Boys,
Letta Mbulu,
Tomorrow,
Warren Ellis,
Kaleidoscope,
Kevin Saunderson,
Sällskapet,
Sparks,
Archie Shepp,
The Smiths,
Maleditus Sound,
Colin Newman,
Animal Collective,
Electric Light Orchestra,
Popol Vuh,
James Chance & The Contortions,
The New Christs,
The Pop Group,
Sun Ra Arkestra,
Mars,
Al Stewart,
Chrome,
Yazoo,
Richard Hell and the Voidoids,
Skarface,
Strawberry Alarm Clock,
Pagans,
Massinfluence,
Hasil Adkins,
Bizarre Inc.,
Albert Ayler,
The Real Kids,
Robert Hood,
X-Ray Spex,
Jawbox,
Magazine,
Radio Birdman,
Girls At Our Best!,
Section 25,
Gabor Szabo, Gabor Szabo, Gabor Szabo, Gabor Szabo.
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.