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 Solomon Islands and from Shanghai.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1975.
I'm losing my edge.
To all the kids in Lagos and Philadelphia.
I'm losing my edge to the art-school New York 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 theremin 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 Rod Modell to the grime kids.
I played it at the Troubador.
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 Buzzcocks. All the underground hits.
All Sound Behaviour tracks. I heard you have a vinyl of every Danielle Patucci record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a clarinet and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Country Joe & The Fish record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pulsallama,
The Divine Comedy,
Andrew Hill,
Sonic Youth,
The Blackbyrds,
Black Pus,
Yellowson,
The Neon Judgement,
Nirvana,
Angels of Light & Akron/Family,
Kenny Larkin,
Japan,
Ken Boothe,
Brothers Johnson,
Joyce Sims,
The Doobie Brothers,
Rod Modell,
Smog,
Yazoo,
Brass Construction,
The Cramps,
The Five Americans,
Basic Channel,
Faust,
Con Funk Shun,
Erykah Badu,
Sad Lovers and Giants,
Gian Franco Pienzio,
Pere Ubu,
Bauhaus,
Big Daddy Kane,
The Fortunes,
Magma,
Inner City,
Dark Day,
The Music Machine,
Jeff Lynne,
The Vogues,
The Blues Magoos,
Deadbeat,
Echo & the Bunnymen,
Y Pants,
The Moody Blues,
Marmalade,
Siglo XX,
Avey Tare,
Chris Corsano,
Ash Ra Tempel,
Harpers Bizarre,
Masters at Work,
New Order,
Pet Shop Boys,
Angry Samoans,
Terrestrial Tones,
The Dirtbombs,
Marine Girls,
June of 44,
John Holt,
David McCallum,
World's Most,
FM Einheit,
Country Teasers,
Saccharine Trust,
Flash Fearless,
John Coltrane, John Coltrane, John Coltrane, John Coltrane.
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.