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 Sweden and from Portland.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Copenhagen and Portland.
I'm losing my edge to the art-school Sao Paulo 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the synthesizer sounds with much patience.
I was there when Captain Beefheart 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 The Divine Comedy to the grunge 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 Little Man. All the underground hits.
All Dawn Penn tracks. I heard you have a vinyl of every Archie Shepp record on German import.
I heard that you have a white label of every seminal disco 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 clarinet and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Visage record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Inner City,
The Red Krayola,
The Music Machine,
Traffic Nightmare,
The Fuzztones,
Strawberry Alarm Clock,
X-101,
Chris & Cosey,
The Busters,
Sister Nancy,
The Victims,
The Litter,
Theoretical Girls,
The Shadows of Knight,
Dead Boys,
Cymande,
Connie Case,
Kool Moe Dee,
Tears for Fears,
The Moleskins,
Bush Tetras,
The Chocolate Watch Band,
The Divine Comedy,
These Immortal Souls,
Rowland S Howard / Lydia Lunch,
Flash Fearless,
Lou Reed & John Cale,
Ajijia Myrayebe,
Barclay James Harvest,
Ash Ra Tempel,
Soft Machine,
Wally Richardson,
Slave,
The Modern Lovers,
Bill Near,
Lou Christie,
The Smoke,
The Count Five,
H. Thieme,
Soul Sonic Force,
The Velvet Underground,
Tim Buckley,
The Five Americans,
Tom Boy,
Ken Boothe,
Todd Terry,
Magma,
Orchestral Manoeuvres in the Dark,
Yazoo,
Icehouse,
Bobbi Humphrey,
Rakim,
Neil Young,
Easy Going,
New York Dolls,
DNA,
The Cramps,
Dr. Dre and Snoop Doggy Dog,
the Bar-Kays,
Althea and Donna,
Avey Tare,
Massinfluence, Massinfluence, Massinfluence, Massinfluence.
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.