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 Bolivia and from Manchester.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Toronto and Madrid.
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 Bad Manners to the crunk 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 Rahsaan Roland Kirk. All the underground hits.
All Bronski Beat tracks. I heard you have a vinyl of every Brass Construction record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Black Pus record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Main Source,
Barclay James Harvest,
A Certain Ratio,
Vaughan Mason & Crew,
This Heat,
Cybotron,
Tomorrow,
Faraquet,
Gabor Szabo,
The Raincoats,
Andrew Ashong & Theo Parrish,
Sticky Fingaz feat. Raekwon,
Andrew Hill,
Sun Ra,
cv313,
Little Man,
The Barracudas,
Fifty Foot Hose,
ABC,
Parry Music,
Black Sheep,
Angry Samoans,
The Saints,
Kerrie Biddell,
Funkadelic,
Yellowson,
Hoover,
Black Moon,
Vainqueur,
Freddie Wadling,
Marine Girls,
The Modern Lovers,
Davy DMX,
Letta Mbulu,
Spandau Ballet,
X-101,
Soul II Soul,
The Kinks,
Lee Hazlewood,
Ronnie Foster,
La Düsseldorf,
Japan,
New Order,
Khruangbin,
Kayak,
The Fire Engines,
Symarip,
Eyeless In Gaza,
MDC,
Sugar Minott,
Judy Mowatt,
Robert Görl,
Swans,
Godley & Creme,
Anakelly,
Brand Nubian,
the Normal,
Brick,
Todd Terry,
Grandmaster Flash,
8 Eyed Spy,
Soul Sonic Force,
Pierre Henry,
Amazonics, Amazonics, Amazonics, Amazonics.
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.