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 Grenada and from Toronto.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Milan and Manchester.
I'm losing my edge to the art-school Beijing 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 chamberlin 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 Judy Mowatt to the punk 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 Lalann. All the underground hits.
All Selector Dub Narcotic tracks. I heard you have a vinyl of every Marine Girls record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Popol Vuh record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The New Christs,
Ohio Players,
Matthew Halsall,
The Moleskins,
Joe Smooth,
Carl Craig,
Al Stewart,
Erykah Badu,
8 Eyed Spy,
X-102,
Porter Ricks,
Aural Exciters,
Niagra,
Ronan,
Urselle,
Suburban Knight,
Manfred Mann's Earth Band,
The Pop Group,
Leonard Cohen,
The Slits,
Brick,
Monolake,
Quadrant,
Iggy Pop,
Glambeats Corp.,
The Fall,
Fort Wilson Riot,
Crooked Eye,
Eurythmics,
Black Moon,
Eric Copeland,
Rapeman,
Accadde A,
The Beau Brummels,
New Age Steppers,
Electric Light Orchestra,
Avey Tare's Slasher Flicks,
the Sonics,
Scan 7,
Interpol,
Marshall Jefferson,
Tom Boy,
Slave,
10cc,
Essential Logic,
Technova,
Matthew Bourne,
Thee Headcoats,
The Men They Couldn't Hang,
Ten City,
Don Cherry,
Robert Görl,
Pagans,
Eric Dolphy,
Art Ensemble Of Chicago,
B.T. Express,
Radiopuhelimet,
David Axelrod,
Marc Almond,
Oblivians,
Model 500,
Stereo Dub,
Sonic Youth, Sonic Youth, Sonic Youth, Sonic Youth.
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.