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 Jakarta.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1960 to 1978.
I'm losing my edge.
To all the kids in Accra and Toronto.
I'm losing my edge to the art-school Bologna 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 spring reverb sounds with much patience.
I was there when David Bowie 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 Ralphi Rosario to the techno kids.
I played it at CBGB's.
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 Slave. All the underground hits.
All Eric Copeland tracks. I heard you have a vinyl of every Mark Hollis record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a guitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Negative Approach record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Blackbyrds,
Ponytail,
Stiv Bators,
Rapeman,
Brass Construction,
The Gladiators,
Rhythim Is Rhythim,
Bill Near,
Eve St. Jones,
Jesper Dahlback,
Thompson Twins,
Jawbox,
F. McDonald,
Monks,
Marcia Griffiths,
Fear,
Maurizio,
Sällskapet,
Rhythm & Sound,
Jerry Gold Smith,
Jeff Lynne,
Sandy B,
The Count Five,
Chris Corsano,
John Foxx,
Aswad,
Althea and Donna,
Skarface,
Arcadia,
Magma,
The Detroit Cobras,
The New Christs,
Jesper Dahlbäck,
Alphaville,
Nick Fraelich,
Trumans Water,
Röyhkä ja Rättö ja Lehtisalo,
Japan,
Barry Ungar,
Yellowson,
The Associates,
Agent Orange,
Easy Going,
Reuben Wilson,
Pierre Henry,
Eric B and Rakim,
JFA,
Mission of Burma,
Gastr Del Sol,
Throbbing Gristle,
Bootsy Collins,
Jacques Brel,
Oneida,
Pylon,
Desert Stars,
Fluxion,
Newcleus,
Amon Düül II,
Blossom Toes,
June of 44,
Lakeside,
Peter Gordon & Love of Life Orchestra,
It's A Beautiful Day, It's A Beautiful Day, It's A Beautiful Day, It's A Beautiful Day.
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.