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 Cairo.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1975.
I'm losing my edge.
To all the kids in Hong Kong and Winnipeg.
I'm losing my edge to the art-school Halifax 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 harpsichord sounds with much patience.
I was there when David Bowie 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 Thee Headcoats to the crunk kids.
I played it at Cafe Wha.
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 Donny Hathaway. All the underground hits.
All A Flock of Seagulls tracks. I heard you have a vinyl of every Skaos record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a clarinet and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Gerry Rafferty record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Music Machine,
Andrew Ashong & Theo Parrish,
Q and Not U,
Altered Images,
Gregory Isaacs,
The Tremeloes,
Bizarre Inc.,
Excepter,
Lakeside,
Swans,
Laurel Aitken,
Rowland S Howard / Lydia Lunch,
the Slits,
Los Fastidios,
Byron Stingily,
Liliput,
The Slits,
Anthony Braxton,
Mo-Dettes,
Boredoms,
The Jesus and Mary Chain,
The Velvet Underground,
Bootsy Collins,
Interpol,
Zero Boys,
The Associates,
Eli Mardock,
Subhumans,
Gil Scott Heron,
Swell Maps,
The Pretty Things,
Jerry Gold Smith,
Slick Rick,
Motorama,
Soft Machine,
Grauzone,
Eve St. Jones,
Parry Music,
Thee Headcoats,
the Association,
Judy Mowatt,
Y Pants,
Ice-T,
Depeche Mode,
Lyres,
The J.B.'s,
Mary Jane Girls,
Kauko Röyhkä ja Narttu,
Monks,
Cabaret Voltaire,
Pussy Galore,
Fifty Foot Hose,
Technova,
Nik Kershaw,
John Lydon,
Avey Tare's Slasher Flicks,
Skriet,
Charles Mingus,
Al Stewart,
Kevin Saunderson,
Terrestrial Tones,
La Düsseldorf, La Düsseldorf, La Düsseldorf, La Düsseldorf.
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.