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 Australia and from Salvador.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Tehran and Copenhagen.
I'm losing my edge to the art-school Salvador 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 Second Layer practice in a loft in South London.
I was working on the arpeggiator 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 Bluetip to the jazz kids.
I played it at the Roxy.
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 Smiths. All the underground hits.
All The Offenders tracks. I heard you have a vinyl of every The Cowsills 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 '50s cut and another box set from the '90s.
I hear you're buying a sitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a the Swans record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Organ,
Sandy B,
K-Klass,
Grauzone,
Scientists,
Ken Boothe,
The Dead C,
Avey Tare's Slasher Flicks,
Cabaret Voltaire,
10cc,
Model 500,
Fifty Foot Hose,
Roy Ayers Ubiquity,
The New Christs,
Q and Not U,
The Music Machine,
LL Cool J,
Simply Red,
Television,
Tommy Roe,
Suicide,
Grandmaster Flash and the Furious Five,
Skaos,
The West Coast Pop Art Experimental Band,
The Knickerbockers,
Surgeon,
Minor Threat,
Major Organ And The Adding Machine,
Subhumans,
Icehouse,
Donny Hathaway,
Albert Ayler,
Brand Nubian,
Ash Ra Tempel,
The Kinks,
Symarip,
Henry Cow,
The Sisters of Mercy,
Niagra,
Heavy D & The Boyz,
Sad Lovers and Giants,
Sixth Finger,
Gang Gang Dance,
UT,
Roxy Music,
The American Breed,
Pussy Galore,
Yellowson,
Deutsch Amerikanische Freundschaft,
Marine Girls,
The Happenings,
Nik Kershaw,
Schoolly D,
Mary Jane Girls,
Mantronix,
Scott Walker,
Franke,
Stiv Bators,
The Cosmic Jokers,
FM Einheit,
Cymande,
The Fugs,
Unwound, Unwound, Unwound, Unwound.
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.