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 Uzbekistan and from Philadelphia.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1974.
I'm losing my edge.
To all the kids in Stockholm and Sao Paulo.
I'm losing my edge to the art-school Spokane 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the rhodes sounds with much patience.
I was there when Lou Reed 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 Alphaville to the electroclash kids.
I played it at Cafe Wha.
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 The Leaves. All the underground hits.
All Neil Young & Crazy Horse tracks. I heard you have a vinyl of every Robert Görl record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Scion record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare & Kría Brekkan,
The Leaves,
Pere Ubu,
Mad Mike,
PIL,
Vladislav Delay,
Shuggie Otis,
Urselle,
Marc Almond,
Connie Case,
Aural Exciters,
Vaughan Mason & Crew,
Black Bananas,
Nils Olav,
Tommy Roe,
Joe Smooth,
Oppenheimer Analysis,
Colin Newman,
The Monochrome Set,
The Happenings,
Babytalk,
The Vogues,
The Mighty Diamonds,
Suicide,
The Five Americans,
Gil Scott-Heron & Brian Jackson,
Be Bop Deluxe,
John Lydon,
Eyeless In Gaza,
The Cowsills,
Boredoms,
Massinfluence,
Sun Ra Arkestra,
Gabor Szabo,
Fela Kuti,
Nation of Ulysses,
the Swans,
The Invisible,
Symarip,
Brass Construction,
The Durutti Column,
The Blackbyrds,
Selector Dub Narcotic,
Lebanon Hanover,
FM Einheit,
the Slits,
Patti Smith,
Das Ding,
Au Pairs,
The Offenders,
The Gap Band,
Gong,
Marshall Jefferson,
Robert Wyatt,
Bizarre Inc.,
The West Coast Pop Art Experimental Band,
The Gories,
Minnie Riperton,
The Walker Brothers,
The Human League,
Nik Kershaw,
The Selecter,
Lonnie Liston Smith, Lonnie Liston Smith, Lonnie Liston Smith, Lonnie Liston Smith.
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.