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 Kyrgyzstan and from Tehran.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Delhi and Lyon.
I'm losing my edge to the art-school Manchester 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 güiro sounds with much patience.
I was there when Michael McDonald 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 Offenders to the crunk kids.
I played it at Cafe Wha.
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 Tres Demented. All the underground hits.
All The Techniques tracks. I heard you have a vinyl of every Barrington Levy record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Rekid record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sexual Harrassment,
H. Thieme,
FM Einheit,
Marc Almond,
David Bowie,
The Chocolate Watch Band,
The Mighty Diamonds,
The Fortunes,
Major Organ And The Adding Machine,
Yusef Lateef,
Kas Product,
Saccharine Trust,
Soft Machine,
Ituana,
Robert Wyatt,
Arcadia,
Grauzone,
The Evens,
Lucky Dragons,
Youth Brigade,
Gastr Del Sol,
The Modern Lovers,
Erasure,
JFA,
The Shadows of Knight,
Hashim,
Amon Düül II,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Blackbyrds,
Liaisons Dangereuses,
A Flock of Seagulls,
Lou Reed,
Oppenheimer Analysis,
Steve Hackett,
The Royal Family And The Poor,
Harpers Bizarre,
A Certain Ratio,
Marmalade,
Thee Headcoats,
Joyce Sims,
Joensuu 1685,
The Busters,
June Days,
Fear,
Todd Rundgren,
Motorama,
Wings,
Colin Newman,
a-ha,
Janne Schatter,
Heavy D & The Boyz,
Notorious BIG live in Amsterdam,
Davy DMX,
The Martian,
Quadrant,
Aural Exciters,
Shoche,
Siglo XX,
Echospace,
Bobby Hutcherson,
Rhythm & Sound,
Wire,
Flash Fearless,
Althea and Donna, Althea and Donna, Althea and Donna, Althea and Donna.
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.