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 Colombia and from Glasgow.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1967 to 1972.
I'm losing my edge.
To all the kids in Philadelphia and Hong Kong.
I'm losing my edge to the art-school New York 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 synthesizer 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 Unrelated Segments to the punk 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 Vladislav Delay. All the underground hits.
All David Bowie tracks. I heard you have a vinyl of every Siglo XX 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 '60s cut and another box set from the '90s.
I hear you're buying a snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Warsaw 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?
OOIOO,
Soft Machine,
AZ,
The Walker Brothers,
Intrusion,
Peter Gordon & Love of Life Orchestra,
Eric B and Rakim,
Little Man,
The Toasters,
Notorious Big And Bone Thugs,
Traffic Nightmare,
Unrelated Segments,
China Crisis,
Pere Ubu,
Henry Cow,
Thinking Fellers Union Local 282,
Graham Central Station,
The Names,
Swell Maps,
Peter and Kerry,
Brass Construction,
Flamin' Groovies,
Jeru the Damaja,
The Evens,
Kango’s Stein Massive,
The Standells,
The Angels of Light,
Black Pus,
Rapeman,
Aaron Thompson,
Flash Fearless,
Tomorrow,
Ken Boothe,
Ultramagnetic MC's,
Tom Boy,
A Certain Ratio,
the Slits,
Leonard Cohen,
Avey Tare's Slasher Flicks,
Red Lorry Yellow Lorry,
Tears for Fears,
Bauhaus,
Second Layer,
Neu!,
Agent Orange,
This Heat,
Eli Mardock,
Delta 5,
Cameo,
Barbara Tucker,
Minny Pops,
The Misunderstood,
Massinfluence,
Slick Rick,
Flipper,
ABBA,
Negative Approach,
X-Ray Spex,
Oblivians,
Shuggie Otis,
the Bar-Kays,
Sun Ra Arkestra,
Goldenarms,
Mission of Burma, Mission of Burma, Mission of Burma, Mission of Burma.
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.