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 Ukraine and from Tokyo.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1969 to 1970.
I'm losing my edge.
To all the kids in Halifax and Shanghai.
I'm losing my edge to the art-school Manchester 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 Ubu practice in a loft in Cleveland.
I was working on the clarinet sounds with much patience.
I was there when Holger Czukay 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 Ultravox to the techno kids.
I played it at the Spitz.
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 Dorothy Ashby. All the underground hits.
All H. Thieme tracks. I heard you have a vinyl of every Pharaoh Sanders and the Fire Engines 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 '80s cut and another box set from the '90s.
I hear you're buying an organ and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Adolescents record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fuzztones,
Stetsasonic,
Mantronix,
Terrestrial Tones,
Echo & the Bunnymen,
Brothers Johnson,
Royal Trux,
The Cowsills,
X-Ray Spex,
CMW,
The Smoke,
Andrew Ashong & Theo Parrish,
Johnny Osbourne,
Orchestral Manoeuvres in the Dark,
Hardrive,
Dual Sessions,
The Dave Clark Five,
Kevin Saunderson,
Au Pairs,
the Sonics,
The Human League,
Patti Smith,
The Jesus and Mary Chain,
Judy Mowatt,
The Gladiators,
Sonny Sharrock,
Shoche,
Los Fastidios,
Notorious BIG live in Amsterdam,
Ronan,
The Sisters of Mercy,
The Gap Band,
Justin Hinds & The Dominoes,
Fela Kuti,
Crime,
Nas,
R.M.O.,
The Smiths,
New Age Steppers,
The Detroit Cobras,
Roger Hodgson,
Sad Lovers and Giants,
Louis and Bebe Barron,
Pere Ubu,
Hot Snakes,
Dawn Penn,
Gian Franco Pienzio,
Roxy Music,
Boz Scaggs,
Tommy Roe,
Sam Rivers,
Joey Negro,
The Last Poets,
Gil Scott-Heron and Jamie xx,
These Immortal Souls,
Rosa Yemen,
Nick Cave & The Bad Seeds,
Silicon Teens,
Richard Hell and the Voidoids,
Teenage Jesus and the Jerks,
Peter and Kerry,
E-Dancer,
The Vogues, The Vogues, The Vogues, The Vogues.
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.