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 Costa Rica and from Portland.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1973.
I'm losing my edge.
To all the kids in Glasgow and Manila.
I'm losing my edge to the art-school Taipei 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 chamberlin sounds with much patience.
I was there when Nile Rodgers 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 Bluetip to the rock kids.
I played it at the 40 Watt.
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 Interpol. All the underground hits.
All the Slits tracks. I heard you have a vinyl of every The Happenings record on German import.
I heard that you have a white label of every seminal dance 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 marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a It's A Beautiful Day record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythm & Sound,
Prince Buster,
Crooked Eye,
ABBA,
Bill Near,
Faraquet,
Index,
Symarip,
Louis and Bebe Barron,
Roy Ayers,
Surgeon,
Masters at Work,
The Names,
Grauzone,
Adolescents,
Ponytail,
The Five Americans,
Marvin Gaye,
Cymande,
The Electric Prunes,
Vladislav Delay,
Oblivians,
Nico,
Brothers Johnson,
Pagans,
the Swans,
LL Cool J,
Mantronix,
Mr. Review,
Gang of Four,
Gastr Del Sol,
Notorious Big And Bone Thugs,
Roy Ayers Ubiquity,
The Cure,
Freddie Wadling,
Bronski Beat,
Thinking Fellers Union Local 282,
Nick Cave & The Bad Seeds,
It's A Beautiful Day,
Godley & Creme,
Peter Gordon & Love of Life Orchestra,
Cheater Slicks,
Don Cherry,
Archie Shepp,
Unwound,
cv313,
The Smoke,
Subhumans,
Main Source,
Bobby Byrd,
Sly & The Family Stone,
Make Up,
Roger Hodgson,
Frankie Knuckles,
The Cosmic Jokers,
Tres Demented,
Laurel Aitken,
Warsaw,
Jeru the Damaja,
The Sonics,
The Wake,
Buzzcocks, Buzzcocks, Buzzcocks, Buzzcocks.
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.