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 Saudi Arabia and from Manila.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Hong Kong and Lagos.
I'm losing my edge to the art-school London 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 linndrum 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 Joe Smooth to the disco kids.
I played it at the Roxy.
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 PIL. All the underground hits.
All Charles Mingus tracks. I heard you have a vinyl of every Loose Ends record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a harpsichord and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Harry Pussy record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quadrant,
Grauzone,
Yaz,
The Human League,
Flash Fearless,
Simply Red,
Siglo XX,
Radiopuhelimet,
Underground Resistance,
The Jesus and Mary Chain,
Brass Construction,
kango's stein massive,
Gil Scott-Heron and Jamie xx,
Dead Boys,
Qualms,
Metal Thangz,
Bobby Womack,
Average White Band,
Derrick Morgan,
Boredoms,
Dennis Brown,
Eddi Front,
the Slits,
The Cramps,
The Index,
Cal Tjader,
Byron Stingily,
Curtis Mayfield,
Boz Scaggs,
Lungfish,
Mr. Review,
Slave,
the Germs,
The Black Dice,
David Bowie,
Bill Near,
Y Pants,
Faust,
Kenny Larkin,
Amazonics,
The Men They Couldn't Hang,
The Invisible,
Pantaleimon,
Scion,
The Names,
Sound Behaviour,
Grandmaster Flash,
Spandau Ballet,
Be Bop Deluxe,
Joensuu 1685,
Deepchord,
Max Romeo,
Pussy Galore,
Camberwell Now,
Orchestral Manoeuvres in the Dark,
Rod Modell,
Michelle Simonal,
Jawbox,
Nirvana,
Sunsets and Hearts,
The Alarm Clocks,
John Holt, John Holt, John Holt, John Holt.
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.