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 Mongolia and from Johannesburg.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1970.
I'm losing my edge.
To all the kids in Cairo and Delhi.
I'm losing my edge to the art-school Accra 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 chamberlin sounds with much patience.
I was there when Donald Fagen 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 Country Joe & The Fish to the dance 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 Harry Pussy. All the underground hits.
All Young Marble Giants tracks. I heard you have a vinyl of every Man Parrish record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Blancmange record.
I hear that you and your band have sold your linndrum and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Youth Brigade,
Sarah Menescal,
This Heat,
The Knickerbockers,
CMW,
Electric Light Orchestra,
Harpers Bizarre,
Michelle Simonal,
Saccharine Trust,
Lungfish,
Robert Görl,
Traffic Nightmare,
Flash Fearless,
Desert Stars,
Mars,
Organ,
Leonard Cohen,
Barrington Levy,
Slave,
Peter Gordon & Love of Life Orchestra,
Jeff Lynne,
Yaz,
Ituana,
The Men They Couldn't Hang,
Excepter,
Erasure,
Danielle Patucci,
The Beau Brummels,
Nirvana,
Cabaret Voltaire,
Funkadelic,
Sam Rivers,
Depeche Mode,
The Doors,
Mission of Burma,
The Velvet Underground,
Thee Headcoats,
Heaven 17,
Carl Craig,
AZ,
London Community Gospel Choir,
The Litter,
The Doobie Brothers,
Pulsallama,
Camberwell Now,
Q and Not U,
Lonnie Liston Smith,
Patti Smith,
The Index,
Pylon,
The Seeds,
Bush Tetras,
MC5,
Chrome,
Ralphi Rosario,
DeepChord presents Echospace,
Cameo,
Albert Ayler,
Young Marble Giants,
Suicide,
Technova,
Donald Byrd,
Pere Ubu, Pere Ubu, Pere Ubu, Pere Ubu.
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.