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 Australia and from Bremen.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Philadelphia and Toronto.
I'm losing my edge to the art-school Mexico City 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 arpeggiator 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 Average White Band to the grime kids.
I played it at Trash.
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 The Young Rascals. All the underground hits.
All T.S.O.L. tracks. I heard you have a vinyl of every Pete Rock & C.L. Smooth record on German import.
I heard that you have a white label of every seminal electroclash 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 organ and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Infiniti record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord 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 Blues Magoos,
Mad Mike,
Throbbing Gristle,
Intrusion,
Little Man,
Neil Young & Crazy Horse,
Eric B and Rakim,
Sam Rivers,
Selector Dub Narcotic,
Panda Bear,
Althea and Donna,
The Associates,
Das Ding,
Tom Boy,
U.S. Maple,
Ituana,
Sex Pistols,
Brass Construction,
Ten City,
ABC,
Funkadelic,
Wire,
The Fall,
Symarip,
Echospace,
Shuggie Otis,
Byron Stingily,
Fear,
James Chance & The Contortions,
Underground Resistance,
Fifty Foot Hose,
Roxette,
Red Lorry Yellow Lorry,
Public Image Ltd.,
Donny Hathaway,
Sparks,
The Monochrome Set,
The Buckinghams,
Fluxion,
Sonny Sharrock,
Danielle Patucci,
Metal Thangz,
Surgeon,
The Detroit Cobras,
John Holt,
Supertramp,
Soul Sonic Force,
Thee Headcoats,
Bizarre Inc.,
Bang On A Can,
Warren Ellis,
Joyce Sims,
Lakeside,
Matthew Bourne,
In Retrospect,
Piero Umiliani,
Morten Harket,
Fugazi,
Darondo,
Lou Christie,
Kauko Röyhkä ja Narttu,
Lyres, Lyres, Lyres, Lyres.
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.