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 Israel and from Seoul.
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 1974.
I'm losing my edge.
To all the kids in Cairo and Portland.
I'm losing my edge to the art-school Jakarta 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 organ sounds with much patience.
I was there when Captain Beefheart 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 Real Kids to the jazz kids.
I played it at Trash.
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 Eve St. Jones. All the underground hits.
All The Human League tracks. I heard you have a vinyl of every Black Pus record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a marimba and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roxette,
Jacob Miller,
the Sonics,
Bootsy's Rubber Band,
The Gap Band,
James White and The Blacks,
Delta 5,
8 Eyed Spy,
Lindisfarne,
The Stooges,
Boogie Down Productions,
The Blackbyrds,
Fad Gadget,
Funkadelic,
Ituana,
The Fire Engines,
Nils Olav,
Franke,
The Fortunes,
Sad Lovers and Giants,
Alison Limerick,
Shoche,
H. Thieme,
The Smoke,
the Germs,
Johnny Osbourne,
Manfred Mann's Earth Band,
Scrapy,
Fort Wilson Riot,
Jacques Brel,
Faust,
Faraquet,
Rowland S Howard / Lydia Lunch,
Orchestral Manoeuvres in the Dark,
K-Klass,
Make Up,
Pole,
Cheater Slicks,
Jerry Gold Smith,
Wally Richardson,
The Black Dice,
Wolf Eyes,
Oneida,
Easy Going,
The Doors,
Mary Jane Girls,
Rotary Connection,
Aswad,
Joensuu 1685,
the Swans,
Thompson Twins,
Bobby Hutcherson,
Spoonie Gee,
Prince Buster,
the Slits,
June Days,
A Flock of Seagulls,
Black Bananas,
The Happenings,
Scott Walker,
Lebanon Hanover, Lebanon Hanover, Lebanon Hanover, Lebanon Hanover.
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.