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 Taiwan and from Manila.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Calgary and Lyon.
I'm losing my edge to the art-school Calgary 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 guitar sounds with much patience.
I was there when Captain Beefheart 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 Hardrive to the punk kids.
I played it at the Astoria.
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 Sandy B. All the underground hits.
All Echospace tracks. I heard you have a vinyl of every Chrome record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a mellotron and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Eddi Front record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gladiators,
Jesper Dahlbäck,
Nico,
Whodini,
The United States of America,
Popol Vuh,
The Human League,
Electric Prunes,
Hasil Adkins,
Minny Pops,
Warsaw,
Rhythm & Sound,
The Litter,
Brick,
T.S.O.L.,
Infiniti,
Subhumans,
Lakeside,
Suburban Knight,
Jacques Brel,
Sarah Menescal,
Von Mondo,
Aural Exciters,
David Axelrod,
Liaisons Dangereuses,
Tubeway Army,
Eve St. Jones,
Darondo,
Supertramp,
The Jesus and Mary Chain,
MC5,
Jesper Dahlback,
Cluster,
Rosa Yemen,
China Crisis,
Boogie Down Productions,
Joensuu 1685,
Laurel Aitken,
U.S. Maple,
Depeche Mode,
The Fugs,
The Fuzztones,
Dave Gahan,
Deepchord,
Skaos,
Sixth Finger,
Hardrive,
Excepter,
The Shadows of Knight,
Spandau Ballet,
Pharaoh Sanders and the Fire Engines,
DJ Sneak,
Metal Thangz,
Negative Approach,
Dead Boys,
Mantronix,
This Heat,
A Flock of Seagulls,
Radio Birdman,
Hot Snakes,
The Pretty Things,
Howard Jones,
Althea and Donna, Althea and Donna, Althea and Donna, Althea and Donna.
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.