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 Palau and from Johannesburg.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1979.
I'm losing my edge.
To all the kids in Manchester and Cairo.
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 1976 at the first Buzzcocks practice in a loft in Bolton.
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 Peter and Kerry to the rap 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 Make Up. All the underground hits.
All Reagan Youth tracks. I heard you have a vinyl of every A Certain Ratio 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 theremin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott Heron record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Morten Harket,
Negative Approach,
10cc,
Minny Pops,
Dual Sessions,
Dorothy Ashby,
Ash Ra Tempel,
Groovy Waters,
Pharoah Sanders,
Archie Shepp,
Joey Negro,
Rekid,
Visage,
Bauhaus,
Unwound,
June of 44,
The Trojans,
Lalann,
Monks,
Rakim,
Panda Bear,
The Smoke,
Letta Mbulu,
The Mummies,
The Royal Family And The Poor,
Delta 5,
Little Man,
Altered Images,
Crash Course in Science,
Thompson Twins,
X-Ray Spex,
The Misunderstood,
Minutemen,
The Stooges,
Slave,
The Mojo Men,
The Techniques,
Brass Construction,
Peter & Gordon,
Kerrie Biddell,
Joensuu 1685,
Rufus Thomas,
Easy Going,
Rhythm & Sound,
Lindisfarne,
Television,
Buzzcocks,
Audionom,
The Sound,
Maleditus Sound,
Nas,
Hardrive,
The Standells,
Brand Nubian,
Bush Tetras,
Angry Samoans,
Amazonics,
Scion,
Y Pants,
The Zeros,
Shuggie Otis,
Captain Beefheart & His Magic Band,
The Seeds, The Seeds, The Seeds, The Seeds.
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.