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 Uzbekistan and from Taipei.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Salvador and Toronto.
I'm losing my edge to the art-school Milan 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 rhodes 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 Stockholm Monsters to the rock 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 The Saints. All the underground hits.
All Section 25 tracks. I heard you have a vinyl of every a-ha 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 '70s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Laurel Aitken record.
I hear that you and your band have sold your organ and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Accadde A,
Camberwell Now,
Alice Coltrane,
Japan,
Danielle Patucci,
The Velvet Underground,
Howard Jones,
Avey Tare & Kría Brekkan,
Arthur Verocai,
The Invisible,
The Music Machine,
Lindisfarne,
Whodini,
Soulsonic Force,
Theoretical Girls,
FM Einheit,
The Vogues,
Roxy Music,
OOIOO,
Kenny Larkin,
Junior Murvin,
Eden Ahbez,
Electric Light Orchestra,
Groovy Waters,
Blake Baxter,
Gong,
Rapeman,
R.M.O.,
Inner City,
The Royal Family And The Poor,
Gang Green,
E-Dancer,
The Remains,
Electric Prunes,
K-Klass,
Kas Product,
Arab on Radar,
Rakim,
Rosa Yemen,
Nico,
The Doors,
Anthony Braxton,
Pantaleimon,
Traffic Nightmare,
Underground Resistance,
The Golliwogs,
Rekid,
One Last Wish,
Flipper,
Morten Harket,
Stockholm Monsters,
La Düsseldorf,
Pole,
The Zeros,
Marcia Griffiths,
Bill Wells,
Ten City,
Dr. Dre and Snoop Doggy Dog,
Bobby Sherman,
Dual Sessions,
Sound Behaviour,
Tommy Roe,
Zapp, Zapp, Zapp, Zapp.
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.