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 Taiwan and from Taipei.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Johannesburg and Columbus.
I'm losing my edge to the art-school Manchester 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the rhodes sounds with much patience.
I was there when Robert Palmer 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 Cabaret Voltaire to the rock 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 The Cramps. All the underground hits.
All Lafayette Afro Rock Band tracks. I heard you have a vinyl of every Brass Construction record on German import.
I heard that you have a white label of every seminal techno 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 harpsichord and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Panda Bear record.
I hear that you and your band have sold your sitar and bought a snare.
I hear that you and your band have sold your snare and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wally Richardson,
Ossler,
the Bar-Kays,
The Evens,
Susan Cadogan,
Sparks,
Don Cherry,
Soft Machine,
Bang on a Can All-Stars,
Rekid,
JFA,
Carl Craig,
Black Sheep,
Anakelly,
Archie Shepp,
Fatback Band,
Kayak,
Sandy B,
Wire,
The Neon Judgement,
Crime,
Joensuu 1685,
The Count Five,
The Techniques,
Easy Going,
Unrelated Segments,
John Foxx,
The Red Krayola,
Scion,
The Pretty Things,
KRS-One,
Kenny Larkin,
The Slackers,
Black Pus,
Electric Prunes,
Ituana,
London Community Gospel Choir,
The West Coast Pop Art Experimental Band,
Nik Kershaw,
Idris Muhammad,
The Invisible,
the Fania All-Stars,
Thee Headcoats,
Marc Almond,
Das Ding,
The Blackbyrds,
Steve Hackett,
the Association,
Derrick May,
Visage,
Shuggie Otis,
Roxy Music,
Livin' Joy,
B.T. Express,
Scott Walker + Sunn O))),
The Pop Group,
Kas Product,
Kerrie Biddell,
The Velvet Underground,
R.M.O.,
Trumans Water,
Ultravox, Ultravox, Ultravox, Ultravox.
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.