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 Indonesia and from Delhi.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Madrid and Madrid.
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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the marimba sounds with much patience.
I was there when Lou Reed 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 Moody Blues to the electroclash kids.
I played it at the 40 Watt.
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 Buzzcocks. All the underground hits.
All Radio Birdman tracks. I heard you have a vinyl of every Barclay James Harvest record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a clarinet and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Ashong & Theo Parrish record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultravox,
ABBA,
Excepter,
Kool G Rap & DJ Polo,
The West Coast Pop Art Experimental Band,
Scrapy,
Crime,
Clear Light,
Joe Smooth,
Section 25,
In Retrospect,
Juan Atkins,
Quadrant,
The Mummies,
Colin Newman,
Adolescents,
Lafayette Afro Rock Band,
James Chance & The Contortions,
Metal Thangz,
Mission of Burma,
Louis and Bebe Barron,
Ronan,
Niagra,
Ultramagnetic MC's,
Grandmaster Flash,
Delon & Dalcan,
Bobby Sherman,
Cluster,
CMW,
Dual Sessions,
Don Cherry,
Pagans,
Boogie Down Productions,
Sticky Fingaz feat. Raekwon,
Eve St. Jones,
Vainqueur,
Unwound,
These Immortal Souls,
The Barracudas,
the Association,
Godley & Creme,
Magazine,
The Pop Group,
Scan 7,
The Smoke,
Moby Grape,
Radiopuhelimet,
Heavy D & The Boyz,
Camouflage,
Warsaw,
Max Romeo,
Bang On A Can,
Faust,
Althea and Donna,
Archie Shepp,
Mandrill,
MC5,
H. Thieme,
Maurizio,
Trumans Water,
The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain.
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.