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 Costa Rica and from Mexico City.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Copenhagen and Houston.
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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the spring reverb sounds with much patience.
I was there when Holger Czukay 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 Rosa Yemen to the rap 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 Rites of Spring. All the underground hits.
All Unrelated Segments tracks. I heard you have a vinyl of every Sugar Minott record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
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 Television Personalities record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-Ray Spex,
Notorious BIG live in Amsterdam,
DJ Style,
Delon & Dalcan,
Warren Ellis,
Eli Mardock,
The Gladiators,
The Vogues,
Bang On A Can,
Gil Scott-Heron and Jamie xx,
Organ,
Skarface,
Joe Finger,
Flash Fearless,
The Chocolate Watch Band,
Ultravox,
The Raincoats,
Infiniti,
Pulsallama,
Jerry's Kids,
Skriet,
Vaughan Mason & Crew,
Neil Young & Crazy Horse,
Amazonics,
It's A Beautiful Day,
Vainqueur,
Angels of Light & Akron/Family,
Supertramp,
La Düsseldorf,
Soul Sonic Force,
The Martian,
The Knickerbockers,
Bush Tetras,
Mary Jane Girls,
Bobbi Humphrey,
Sexual Harrassment,
Cameo,
The Real Kids,
Justin Hinds & The Dominoes,
Motorama,
Anthony Braxton,
Adolescents,
The West Coast Pop Art Experimental Band,
Wasted Youth,
Gichy Dan,
Terrestrial Tones,
The Move,
Boogie Down Productions,
Au Pairs,
Moss Icon,
Kaleidoscope,
Alison Limerick,
Kevin Saunderson,
Deutsch Amerikanische Freundschaft,
The Seeds,
Banda Bassotti,
The Zeros,
Marcia Griffiths,
Angry Samoans,
Second Layer,
Royal Trux,
Eurythmics,
The Velvet Underground,
Echo & the Bunnymen,
Tom Boy, Tom Boy, Tom Boy, Tom Boy.
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.