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 Jamaica and from Winnipeg.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Johannesburg and Manila.
I'm losing my edge to the art-school New York 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 marimba 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 Nik Kershaw to the techno kids.
I played it at the Crocodile.
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 Lou Reed & John Cale. All the underground hits.
All Marcia Griffiths tracks. I heard you have a vinyl of every Funky Four + One record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a 808 and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Porter Ricks record.
I hear that you and your band have sold your guitar and bought a güiro.
I hear that you and your band have sold your güiro and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bad Manners,
Tomorrow,
The Fuzztones,
Alice Coltrane,
The Buckinghams,
Ralphi Rosario,
Erasure,
Susan Cadogan,
Blake Baxter,
Danielle Patucci,
Liaisons Dangereuses,
Dark Day,
Avey Tare & Kría Brekkan,
Sun City Girls,
Funky Four + One,
The West Coast Pop Art Experimental Band,
Heaven 17,
Pierre Henry,
Main Source,
Magazine,
Ice-T,
Oppenheimer Analysis,
The Young Rascals,
The Black Dice,
Röyhkä ja Rättö ja Lehtisalo,
Flamin' Groovies,
The Music Machine,
Public Image Ltd.,
Marmalade,
Ossler,
Rahsaan Roland Kirk,
Big Daddy Kane,
Joyce Sims,
Crime,
Steve Hackett,
Super Lover Cee & Casanova Rud,
Major Organ And The Adding Machine,
Schoolly D,
The Litter,
Andrew Ashong & Theo Parrish,
Maurizio,
New Order,
D'Angelo,
Avey Tare's Slasher Flicks,
Lou Reed,
Mantronix,
The Kinks,
Barclay James Harvest,
Althea and Donna,
Malaria!,
Sällskapet,
Monolake,
The Move,
Black Sheep,
Girls At Our Best!,
Country Joe & The Fish,
The Raincoats,
The Leaves,
Dual Sessions,
The United States of America,
Symarip,
Stereo Dub, Stereo Dub, Stereo Dub, Stereo Dub.
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.