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 Haiti and from Toronto.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Edmonton and Columbus.
I'm losing my edge to the art-school London 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 snare sounds with much patience.
I was there when Tom Verlaine 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 Buzzcocks to the funk kids.
I played it at the Troubador.
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 Reuben Wilson. All the underground hits.
All June of 44 tracks. I heard you have a vinyl of every David McCallum 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 '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Prince Buster record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tears for Fears,
Kas Product,
Malaria!,
Easy Going,
cv313,
The Litter,
Pantytec,
Icehouse,
Heaven 17,
Piero Umiliani,
Gabor Szabo,
Das Ding,
Strawberry Alarm Clock,
Procol Harum,
Judy Mowatt,
Nik Kershaw,
the Germs,
AZ,
Crispian St. Peters,
Throbbing Gristle,
The Gun Club,
Bootsy's Rubber Band,
Roger Hodgson,
Public Image Ltd.,
One Last Wish,
The Neon Judgement,
Vaughan Mason & Crew,
Orchestral Manoeuvres in the Dark,
Justin Hinds & The Dominoes,
Minny Pops,
F. McDonald,
Whodini,
Graham Central Station,
The Shadows of Knight,
The Flesh Eaters,
Bauhaus,
Young Marble Giants,
Janne Schatter,
Rahsaan Roland Kirk,
The Martian,
Camberwell Now,
Idris Muhammad,
DJ Style,
Tomorrow,
These Immortal Souls,
The Remains,
Selector Dub Narcotic,
Bronski Beat,
Liliput,
Chrome,
The Mummies,
Parry Music,
The Golliwogs,
Massinfluence,
Slave,
Sad Lovers and Giants,
Can,
The Electric Prunes,
Brand Nubian,
Arthur Verocai,
Radio Birdman,
R.M.O.,
In Retrospect,
This Heat, This Heat, This Heat, This Heat.
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.