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 United States and from Madrid.
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 1968 to 1970.
I'm losing my edge.
To all the kids in New York and Beijing.
I'm losing my edge to the art-school Johannesburg 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 1984 at the first Arcadia practice in a loft in London.
I was working on the harpsichord sounds with much patience.
I was there when David Bowie 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 Detroit Cobras to the punk kids.
I played it at the Hacienda.
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 Nik Kershaw. All the underground hits.
All David Axelrod tracks. I heard you have a vinyl of every The Associates record on German import.
I heard that you have a white label of every seminal disco 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 an arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Young Marble Giants record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Association,
Darondo,
China Crisis,
Japan,
Black Flag,
New Order,
Michelle Simonal,
Reuben Wilson,
The Buckinghams,
The Cosmic Jokers,
Kurtis Blow,
Susan Cadogan,
Newcleus,
Procol Harum,
Schoolly D,
Röyhkä ja Rättö ja Lehtisalo,
FM Einheit,
Loose Ends,
Joe Finger,
Minor Threat,
The Grass Roots,
Juan Atkins,
Wire,
the Swans,
Gian Franco Pienzio,
Shuggie Otis,
The Saints,
Marcia Griffiths,
Lafayette Afro Rock Band,
Brand Nubian,
Kango’s Stein Massive,
Unwound,
Marine Girls,
Soul II Soul,
Porter Ricks,
Cymande,
Unrelated Segments,
Blossom Toes,
Toni Rubio,
Boredoms,
Don Cherry,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Anthony Braxton,
Easy Going,
Alison Limerick,
Dr. Dre and Snoop Doggy Dog,
E-Dancer,
Traffic Nightmare,
Deadbeat,
The Modern Lovers,
Ludus,
Rowland S Howard / Lydia Lunch,
Slave,
Spoonie Gee,
Masters at Work,
DeepChord presents Echospace,
Bizarre Inc.,
Robert Görl,
The Fugs, The Fugs, The Fugs, The Fugs.
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.