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 Canada and from Glasgow.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Jakarta and Columbus.
I'm losing my edge to the art-school Philadelphia 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 1978 at the first Visage practice in a loft in London.
I was working on the synthesizer 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 Albert Ayler to the rap 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 X-102. All the underground hits.
All The Royal Family And The Poor tracks. I heard you have a vinyl of every 10cc record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The American Breed record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kauko Röyhkä ja Narttu,
Masters at Work,
the Germs,
The Saints,
MC5,
Mad Mike,
Kaleidoscope,
Mars,
Yellowson,
Yusef Lateef,
Little Man,
Donald Byrd,
Stiv Bators,
Sound Behaviour,
Hasil Adkins,
Jesper Dahlback,
Lakeside,
Harmonia,
Mary Jane Girls,
Arcadia,
Michelle Simonal,
Eric Copeland,
David Bowie,
Heavy D & The Boyz,
Crash Course in Science,
Kings Of Tomorrow,
Ralphi Rosario,
Barry Ungar,
Pulsallama,
Strawberry Alarm Clock,
Cabaret Voltaire,
Zapp,
UT,
Delon & Dalcan,
Nick Cave & The Bad Seeds,
Vladislav Delay,
Sly & The Family Stone,
John Foxx,
The Doors,
The Evens,
Joe Finger,
Tears for Fears,
Steve Hackett,
Bill Wells,
Freddie Wadling,
Howard Jones,
The Star Department,
Alphaville,
Thinking Fellers Union Local 282,
Barclay James Harvest,
KRS-One,
Sonic Youth,
The Leaves,
Faraquet,
Alton Ellis,
Curtis Mayfield,
Scan 7,
Hoover,
Bizarre Inc.,
DNA,
Unwound,
Warsaw, Warsaw, Warsaw, Warsaw.
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.