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 Uzbekistan and from Bologna.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Salvador and Paris.
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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the 808 sounds with much patience.
I was there when Tom Verlaine 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 Saccharine Trust to the electroclash 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 Los Fastidios. All the underground hits.
All Barrington Levy tracks. I heard you have a vinyl of every Maleditus Sound record on German import.
I heard that you have a white label of every seminal jazz 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 sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Public Enemy record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter Gordon & Love of Life Orchestra,
The Slits,
Lower 48,
Deepchord,
Ken Boothe,
Nirvana,
Sonic Youth,
Deadbeat,
June Days,
Wire,
Subhumans,
Terry Callier,
Crispian St. Peters,
Freddie Wadling,
Television,
The Wake,
Ludus,
Black Pus,
Terror Squad Feat. Camron,
OOIOO,
Amon Düül II,
Delta 5,
Scientists,
Blossom Toes,
Arab on Radar,
The Divine Comedy,
Althea and Donna,
Andrew Hill,
Stetsasonic,
Cybotron,
Donny Hathaway,
Fat Boys,
Main Source,
Ohio Players,
Dorothy Ashby,
Bobbi Humphrey,
Nation of Ulysses,
DJ Style,
The Smoke,
One Last Wish,
The Doobie Brothers,
the Germs,
Neu!,
Bootsy's Rubber Band,
The Gap Band,
Boz Scaggs,
Minny Pops,
10cc,
Heavy D & The Boyz,
Porter Ricks,
Henry Cow,
Colin Newman,
New Age Steppers,
Youth Brigade,
Motorama,
Art Ensemble Of Chicago,
The Flesh Eaters,
The Invisible,
New York Dolls,
Aswad,
Radio Birdman,
The Barracudas,
T. Rex,
Nick Cave & The Bad Seeds,
Stiv Bators, Stiv Bators, Stiv Bators, Stiv Bators.
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.