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 France and from Manchester.
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 1975.
I'm losing my edge.
To all the kids in Shanghai and Lyon.
I'm losing my edge to the art-school Portland 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the harpsichord 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 Sarah Menescal to the rap kids.
I played it at Trash.
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 Teenage Jesus and the Jerks. All the underground hits.
All Mr. Review tracks. I heard you have a vinyl of every Minutemen record on German import.
I heard that you have a white label of every seminal grime 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 snare and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Saints record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Junior Murvin,
Animal Collective,
John Lydon,
Gang Green,
Terrestrial Tones,
Unwound,
Altered Images,
T.S.O.L.,
Röyhkä ja Rättö ja Lehtisalo,
Rosa Yemen,
Y Pants,
Man Parrish,
Peter and Kerry,
A Certain Ratio,
Jacques Brel,
Neil Young,
Magma,
Marcia Griffiths,
Spoonie Gee,
Barrington Levy,
Sex Pistols,
Byron Stingily,
Joyce Sims,
Banda Bassotti,
Harpers Bizarre,
Boogie Down Productions,
Crime,
Camron Feat. Memphis Bleek And Beenie Seigel,
Aloha Tigers,
Oppenheimer Analysis,
The Leaves,
Nation of Ulysses,
Zapp,
Unrelated Segments,
Todd Terry,
Kenny Larkin,
K-Klass,
Skarface,
Nick Cave & The Bad Seeds,
The Durutti Column,
Wire,
Ultravox,
Yusef Lateef,
Lonnie Liston Smith,
Von Mondo,
The Barracudas,
Black Moon,
Mark Hollis,
Terry Callier,
Maurizio,
Saccharine Trust,
Ash Ra Tempel,
Marshall Jefferson,
Subhumans,
Michelle Simonal,
Soulsonic Force,
Easy Going,
Black Sheep,
Gerry Rafferty,
Porter Ricks,
Slick Rick,
The Mummies, The Mummies, The Mummies, The Mummies.
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.