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 Honduras and from Woodstock.
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 1979.
I'm losing my edge.
To all the kids in Lagos and Beijing.
I'm losing my edge to the art-school Spokane 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the synthesizer sounds with much patience.
I was there when Tom Verlaine 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 Camouflage to the electroclash kids.
I played it at the Crocodile.
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 Harry Pussy. All the underground hits.
All Rotary Connection tracks. I heard you have a vinyl of every Jesper Dahlback record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a marimba and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Nik Kershaw record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scrapy,
Silicon Teens,
Girls At Our Best!,
Simply Red,
Brass Construction,
The Offenders,
Harry Pussy,
De La Soul & Jungle Brothers,
The Move,
EPMD,
Angry Samoans,
Patti Smith,
Roy Ayers Ubiquity,
Kool Moe Dee,
Y Pants,
Bill Wells,
Rosa Yemen,
Vladislav Delay,
Jeff Mills,
Strawberry Alarm Clock,
Chris & Cosey,
Bobby Byrd,
Pharoah Sanders,
Moebius,
Soul Sonic Force,
Mo-Dettes,
The Skatalites,
The Index,
X-Ray Spex,
Guru Guru,
Slick Rick,
Soft Cell,
Tommy Roe,
Isaac Hayes,
Wighnomy Brothers & Robag Wruhme,
Con Funk Shun,
Fear,
Gang Green,
Procol Harum,
Sandy B,
The Red Krayola,
Darondo,
The Martian,
The United States of America,
Howard Jones,
Arcadia,
Jeff Lynne,
Siouxsie and the Banshees,
Man Eating Sloth,
Soul II Soul,
Fad Gadget,
The Blackbyrds,
Pussy Galore,
Lou Reed & Metallica,
Barbara Tucker,
Gong,
Brothers Johnson,
The Tremeloes,
Gregory Isaacs,
Ultra Naté,
Eden Ahbez,
Camberwell Now, Camberwell Now, Camberwell Now, Camberwell Now.
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.