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 Mongolia and from Beijing.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Bremen and Taipei.
I'm losing my edge to the art-school Johannesburg 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 clarinet sounds with much patience.
I was there when Nile Rodgers 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 Ohio Players to the jazz kids.
I played it at the Spitz.
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 Jeff Mills. All the underground hits.
All MC5 tracks. I heard you have a vinyl of every Be Bop Deluxe 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 '70s cut and another box set from the '70s.
I hear you're buying a guitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Icehouse record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Don Cherry,
X-Ray Spex,
JFA,
Fifty Foot Hose,
The Fall,
La Düsseldorf,
The Searchers,
Eurythmics,
Mo-Dettes,
Althea and Donna,
Von Mondo,
The Mighty Diamonds,
Faust,
Skaos,
The Victims,
Circle Jerks,
Pole,
Dennis Brown,
Faraquet,
Rod Modell,
Chris & Cosey,
Massinfluence,
Quadrant,
DJ Sneak,
Joey Negro,
Scrapy,
Model 500,
One Last Wish,
Supertramp,
Marmalade,
Rhythm & Sound,
Lalo Schifrin,
The Offenders,
Anakelly,
The Sound,
Nas,
Severed Heads,
Robert Hood,
The Pretty Things,
The Five Americans,
Royal Trux,
Smog,
Bobbi Humphrey,
Pussy Galore,
Yellowson,
Rhythim Is Rhythim,
Can,
Magma,
Radio Birdman,
Terrestrial Tones,
The Blackbyrds,
Sparks,
The Slits,
The Cure,
Mantronix,
The Walker Brothers,
Bronski Beat,
MDC,
Japan,
Joe Smooth,
The Zeros,
The Music Machine, The Music Machine, The Music Machine, The Music Machine.
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.