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 London.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Tokyo and New York.
I'm losing my edge to the art-school Columbus 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 808 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 Joensuu 1685 to the dance kids.
I played it at the Hacienda.
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 Thompson Twins. All the underground hits.
All Eric Dolphy tracks. I heard you have a vinyl of every Anakelly record on German import.
I heard that you have a white label of every seminal disco 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 guitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Hasil Adkins record.
I hear that you and your band have sold your guitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Spoonie Gee,
Notorious BIG live in Amsterdam,
the Association,
Little Man,
Orchestral Manoeuvres in the Dark,
Motorama,
T.S.O.L.,
Easy Going,
Fat Boys,
Super Lover Cee & Casanova Rud,
The Royal Family And The Poor,
Aswad,
Joyce Sims,
Ituana,
The Slits,
Flipper,
Pagans,
A Flock of Seagulls,
Aural Exciters,
Adolescents,
The American Breed,
Porter Ricks,
Hot Snakes,
Kerrie Biddell,
Malaria!,
Oblivians,
Swans,
Dave Gahan,
Lungfish,
Ten City,
The Sisters of Mercy,
Excepter,
Kevin Saunderson,
Magazine,
Scion,
Depeche Mode,
Deadbeat,
The Last Poets,
Heaven 17,
Kango’s Stein Massive,
John Foxx,
F. McDonald,
The Raincoats,
Fluxion,
Jawbox,
Bluetip,
Masters at Work,
Monolake,
Lou Reed & John Cale,
DeepChord presents Echospace,
The Litter,
X-102,
Y Pants,
John Holt,
Marc Almond,
Sarah Menescal,
Toni Rubio,
These Immortal Souls,
Bush Tetras,
The Dirtbombs,
Sound Behaviour,
The Detroit Cobras,
Marcia Griffiths, Marcia Griffiths, Marcia Griffiths, Marcia Griffiths.
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.