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 Iran and from Manchester.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Toronto and Winnipeg.
I'm losing my edge to the art-school Tokyo 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 spring reverb sounds with much patience.
I was there when Robert Palmer 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 Moleskins to the rock kids.
I played it at the 40 Watt.
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 Intrusion. All the underground hits.
All Ralphi Rosario tracks. I heard you have a vinyl of every Scratch Acid 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 '50s cut and another box set from the '80s.
I hear you're buying a güiro and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Cosmic Jokers record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Supertramp,
the Association,
Aloha Tigers,
Scott Walker,
Gabor Szabo,
Bizarre Inc.,
June Days,
The Zeros,
Avey Tare's Slasher Flicks,
The Gap Band,
the Swans,
Sun City Girls,
Sun Ra Arkestra,
The Evens,
Magma,
Neu!,
The Last Poets,
Donny Hathaway,
Bobby Sherman,
Pulsallama,
The Monks,
Terry Callier,
The Raincoats,
Surgeon,
FM Einheit,
The Sisters of Mercy,
Sound Behaviour,
Easy Going,
Lizzy Mercier Descloux,
Sonic Youth,
The Index,
Can,
Josef K,
The Chocolate Watch Band,
Funky Four + One,
Black Moon,
Royal Trux,
Eve St. Jones,
Juan Atkins,
The Doobie Brothers,
Franke,
Duran Duran,
Dawn Penn,
X-Ray Spex,
Maleditus Sound,
The Offenders,
Andrew Ashong & Theo Parrish,
Youth Brigade,
The Searchers,
Lalo Schifrin,
The Blackbyrds,
the Slits,
The Cosmic Jokers,
Vaughan Mason & Crew,
The Alarm Clocks,
Subhumans,
Ossler,
Beasts of Bourbon,
Swans,
Symarip,
T.S.O.L.,
Steve Hackett,
Graham Central Station, Graham Central Station, Graham Central Station, Graham Central Station.
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.