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 Togo and from Portland.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1968 to 1978.
I'm losing my edge.
To all the kids in Johannesburg and Stockholm.
I'm losing my edge to the art-school Mumbai 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 mellotron 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 Suburban Knight to the techno kids.
I played it at the Roxy.
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 Deutsch Amerikanische Freundschaft. All the underground hits.
All Joy Division tracks. I heard you have a vinyl of every Sparks record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Susan Cadogan,
Cabaret Voltaire,
Alice Coltrane,
Y Pants,
Tim Buckley,
Tropical Tobacco,
Excepter,
Section 25,
Sällskapet,
The Birthday Party,
Camberwell Now,
Manfred Mann's Earth Band,
Funky Four + One,
Visionaries,LMNO, T- Love & Iriscience,
Main Source,
Robert Wyatt,
Moby Grape,
The J.B.'s,
Bizarre Inc.,
Nation of Ulysses,
The West Coast Pop Art Experimental Band,
Brick,
Con Funk Shun,
The Electric Prunes,
Roy Ayers Ubiquity,
UT,
MDC,
The Mojo Men,
Colin Newman,
James White and The Blacks,
Lizzy Mercier Descloux,
Michelle Simonal,
Amazonics,
Arab on Radar,
Avey Tare's Slasher Flicks,
Avey Tare,
Spoonie Gee,
Cymande,
Slave,
The Names,
Nils Olav,
Rod Modell,
Deadbeat,
Intrusion,
The Beau Brummels,
Sister Nancy,
Gastr Del Sol,
Nik Kershaw,
Peter and Kerry,
The Happenings,
The Last Poets,
The Velvet Underground,
Bobby Womack,
Harry Pussy,
Joe Smooth,
Connie Case,
Red Lorry Yellow Lorry,
Lou Reed & Metallica,
Ten City,
Nick Cave & The Bad Seeds,
Schoolly D,
Sixth Finger,
Kayak, Kayak, Kayak, Kayak.
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.