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 Togo and from London.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Beijing and Taipei.
I'm losing my edge to the art-school Manila 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 1983 at the first Bronski Beat practice in a loft in Brixton.
I was working on the spring reverb sounds with much patience.
I was there when Robert Palmer 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 Joey Negro to the rap 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 Peter and Kerry. All the underground hits.
All Marshall Jefferson tracks. I heard you have a vinyl of every Orchestral Manoeuvres in the Dark record on German import.
I heard that you have a white label of every seminal rap 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 an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Bauhaus record.
I hear that you and your band have sold your organ and bought a theremin.
I hear that you and your band have sold your theremin and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Section 25,
Captain Beefheart & His Magic Band,
The Jesus and Mary Chain,
Popol Vuh,
The Standells,
Liaisons Dangereuses,
Thee Headcoats,
Scratch Acid,
Con Funk Shun,
Inner City,
The Moleskins,
Donald Byrd,
Laurel Aitken,
Peter and Kerry,
Underground Resistance,
Crime,
Altered Images,
Country Joe & The Fish,
Ultravox,
Beasts of Bourbon,
X-101,
Moebius,
The Detroit Cobras,
Kango’s Stein Massive,
Royal Trux,
The Velvet Underground,
Marc Romboy vs. Booka Shade,
The Dead C,
The Dirtbombs,
Strawberry Alarm Clock,
Spandau Ballet,
Brass Construction,
The Seeds,
Soft Machine,
Crispian St. Peters,
Althea and Donna,
cv313,
The Fugs,
The Associates,
Eli Mardock,
Cheater Slicks,
Orchestral Manoeuvres in the Dark,
The Star Department,
Nils Olav,
Kerri Chandler,
the Slits,
Marmalade,
Bobby Hutcherson,
Max Romeo,
Ken Boothe,
Can,
Blossom Toes,
Erasure,
John Cale,
DeepChord presents Echospace,
Franke,
Angry Samoans,
Manfred Mann's Earth Band,
Half Japanese,
The Offenders,
Smog,
Carl Craig, Carl Craig, Carl Craig, Carl Craig.
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.